Franklin Square Song Collection

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a. '5

HARVARD COLLEGE
LIBRARY

THE BEQUEST OF
EVERT JANSEN WENDELL

(CLASS OF l§ii2)
OF NEW YORK

1918

MUSIC LIBRARY

ranldin Square i^^^^^

olleetion:

9ne 4 pujSDi^HD

!l|mwrH$ %m^ mis. !f ytttiH far ^t|tmfa aith !f 0m$«,

9* St

SELECTED BY J. P. McCASKEY.

The direct relation of Mnsie is not to ideas, but emotions. Mnsic, in the works of its greatest masters,
is more marvelous, more mysterions than poetry. — Henry Giltt.

Some of the &thers went so far as to esteem the love of Munc a sign of predestination ; as a thing divine
and reserved for the felicities of Heaven itself. — Sir William Temple.

I think sometimes, could I only have Music on my own terms; could I know where I could go whenever
I wish the ablution and inundation of musical waves, that were a bath and a medicine. — R. IV. Emerson.

It calls in my spirits, composes my thoughts, delights my ear, recreates my mind, and so not only fits
me for after business, but fills my mind, at the present, with pure and usefiil thoughts; so that when the Music
sounds the sweetest in my ears the truth commonly flows the clearest into my mind. — Bishtp £e»eri<fge.

NEW YORK.
HARPER & BROTHERS, FRANKLIN SQUARE.

H:.

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IMRVM0 WLkMC UBRMV

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ttitllQUttTOF
tVllT MWM ftNKlkk

till

From "VAllegro."

In notes with many a winding bout
Of linked sweetness long drawn out,
With wanton heed, and giddy cunning.
The melting voice through mazes running,
Untwisting all the chains that tie
The hidden soul of Harmony.

John Milton,

Gladness can scarcely be a solitary thing ; the very life of praise seems choral ; it is more
than one bounded heart can utter. Its finest expressions are those that, in the Psalms and some
ancient canticles, call on Nature, even that which is not conscious and animate, to swell the
harmony: " O ye Showers and Dew, praise ye the Lord! " Once, even in Music, I was content with
melody; a tune, with its sweetness, like that of a tinkling riU, was enough to gladden me ; now my
heart asks for a deeper spelL Surely when one has once entered into the blissful secrets of
harmony, the note seems to suggest the chord, to ask to be built up within it — Two Friends,

Our thanks are due to Publishers for copyright favors, and to Prof Cari* Matz for invaluable
aid here gratefully acknowledged. The Compiler may be addressed through Messrs. Harper &
Brothers, in reference to Old Songs that have been popular favorites, and will be glad to have
suggestions from any persons who are interested. Some of the best seledlions in the present Num-
ber have been suggested by lovers of song in diflferent parts of the country, often widely separated^
The fiill list of Contents of the different Numbers may be had on application to the Publishers.

COPyniGHT, 1888, BY J. P. McCASKBY.

Srottetb rf^totj SxJUtlum: 11^0^5^

Alphabet Song, - - Little Ones. 170

A Charge to Keep I Have, - Charles Wesley, 49

A Few More Years Shall Roll, Horatius B^nar, 124

A Hermit There Was, Fitter Parley, no

All Among the Barley, - ElUabeth Stirling. 131

AU by the Shady Greenwood Tree, G. Rossini, 99

All is Still and Restfol Now, - W, Tauwit*. 35

All Night thro' thy Slumbers, M, Connelly. 54

Anna Song, - • Richard Genee. 13

Anvil Choms, - - - - G. Verdi, 154

Arabv's Daughter, • Thomas Moore. 15

Are Ye Sleepin', Maggie? - R, Tannahill 35

Art Thou Weary? - St. Stephanos. 61

As I'd Nothing Else to Do, - J. L. Hatton, 158

A Spring Song, • - Ciro Pinsuti. 119

As the Golden Stars, - German. 67

Autumn Leaves, Charles Dichens. 81

A Wet Sheet and Flowing Sea,^. Cunningham. 65

Battle Prayer, The, F. H. HimmeL 153

Ben Bolt, ... T. D. English. 19

Bibabutzeman, .... Nursery. 170

Bid Me Good-Bye, - F, Paoli Tosti. 80

Birdling, Why Sing in Forest Wide? - Swedish. 34

Birds in the Night, - - Arthur Sullivan. 55

Blest Be the Tie that Binds, John Fawcett. 49

Bleib Bei Mir, - - • A. Reichardt, 76

Bright Star of Hope, - - - F. Haleoy. 56

Brother, Thou and I, • • Lullaby, 89

Brother, Thou Art Gone Before Us, Dirge, 115

Call Me Thine Own, - F, Halevy. 56

Campbells are Coming, The, - Seotch, 44

Christmas Song, - • • A.Adam. 133

Cock Robin and Jenny Wren, - Anonymous, yj

Come, All Ye Jolly Shepherds, - Scotch. 90

Come Back to Erin, Mrs. C, Barnard. 1 1

Come, Boor, Your « Little Blue," II, B. Famie. 40

Come, Holy Ghost, Chas. Wesley. 97

Come let us Join in Merry Chorus, J. Offenbach, 127

Come let us Join our Cheerful Songs, 7 Watts, 97

Come out, Tis Now September, E. Stirling, 131

Come Rest in This Bosom, - Thomas Moore, 126

Come to the Meadows, - - Kindergarten. 138

Come when the Soft Twilight Falls, Schumann. 70

Confide ye Aye in Providence, Jas, Ballantyne, 84

Cracovian Maid, The, - Anonymous. 155

Cuddle Doon, - Alexander Anderson. 58

Dance On Forever, - Hamilton Aid^. 29

Dear Mother, in Dreams I See Her, C, Bellamy. 20

Dearest Love, Do You Remember ? C. C.Sawyer. 150

Departed Days, - Portuguese Air, 18

Depth of Mercy ! Can There Be, C. Wesley, 97

Distant Shore, The, Arthur Sullivan, 120

Don't Leave Your Mother, Tom, E, J, Symons. 156

Dream Faces, - - Wm. M. Hutchinson. 94

Dreamland, - . Mrs. C. Barnard, 132

Dream on. Young Hearts, - N. J, Sporle. 42

Eden of Love, The, - - Anonymous. 162

Eve's Lamentation, - - M, P, King. 63

Fair Land of Poland, - - M, W,Balfe, 141

Farewell, My Peaceful Vale, - Anonymous. 155

Farewell Forever, H. B, Famie, 54

Farewell, O Farewell to Thee, Thomas Moore. 15

Farewell, Those Happy Hours, G, Doniutti. 7

Father, on Thee I Call, - Theodore Komer. 153

Feast of Roses, The, - Thomas Moore, 26

Fiddle-de^lee,

Fine Old English Gentleman,

Flowerets Blooming,

Foot Traveler, The,

Fox and Goose,

Friends that We Never Forget,

From Every Stormy Wind,

Gaily Our Boat Glides,

Gaily Sings the Lark,

God Hath Sent His Augels, -

Going to Market,

Golden Shore, The,

Good-Bye at the Door,

Good-Night,

Good Shepherd, The,

Grave of Bonaparte,

Green Fields of America,

Gum Tree Canoe, The,

Nursery. 171

Anonymous. 72

F. Schubert. 95

Students^ Sang. 122

German, 170

A. Hawthorne, 27

T. Hastings. 103

Anonymous, 23

W, Mozart. 5a

Easter Hymn, 167

Louis Diehl 78

Jewish Air, 173

Stephen Glover. 64

Anonymous, 143

Odoardo Barru I02

L. Heath. loi

Mary &NeiL 82

- S, S, Steele. 98

-t

Hail! Thou Once Despised Jesus I 7. BakewelL 163

G. F. HandeL 160

H. B, Famie, 176

Henry Morford.

Robert Burns,

Round.

Marshall S. Pike.

Anonymous.

y. K. Mitchell,

- Child* s Hymn.

Playtime Song.

G. Rossini.

II. Weidt,

y. Newton,

149

171

104

62

Hallelujah Chorus,

Hark! 'tis the Angelus, -

Heart Ache for Home,

Here Awa, There Awa, -

Here's a Health to All,

Home Again;

Home, Fare Thee Well I

Home of My Childhood,

Honor His Holy Name,

Hot Cross Buns,

How Bright and Fair,

How Fair Art Thou,

How Tedious and Tasteless,

Hush I the Waves are Rolling in, - Gaelic.

Hynm Tunes: Autumn, 163; Azmon, 61; Bdellium,
96 ; Blumenthal, 97 ; Chelvey, 224; Dennis, 49;
De Fleury, 50; Duane Street, 51; Garden, 68;
Gloria Patri, 61 ; Heber, 162; Holstein, 163; Leb-
anon, 145; Maitland, 51; Moyle, 115; Neale,6i;
Ortonville, 113; Pljrmouth, 125; Retreat, 103;
Sabbath, 49; St Martin's, 97; St Thomas, 125.
'd Offer Thee this Hand of Mine, Anonymous, 164
Gave Her a Rose, Mary Marh-Lemon. 1 14

Hear Not a Foot&U, Sidney Nelson. 75

Know an Eye so Softly Bright, A. Reichardt, 24
Love Thy Kingdom, Lord, - T, Dwight 125
'11 Hang My Harp on a Willow, Old English. 83
'11 Sing You an Old Ballad, - Anonymous. 72
Ika Blade o' Grass, . yohn Wilson. 84

Love Little Pussy, - - - Nursery. 171
'm Not Myself at All, - Samuel Lover. 159
n Merry Chorus, - - y. Offenbach. 127
n the Golden Eventide, - Ciro Pinsuti. 1 14

Remember Well a Sunny Vale, G. Donizetti, 7
Sat Beneath the Maples Old, Ciro Pinsuti, 119
Saw a Ship a Sailing, - Carl Reinecke. 105
See My Home in the Twilight Dim, Claribel, 132
've Come Across the Sea, - Swiss, 137

Was a Wandering Sheep, Horatius Bonar, 145
Welcome Thee with Gladness, German. 21

fenny Lind's Bird Song, - - Swedish, 34
essie, the Flower of Dumblane, R, Tannahill. 130
Jesus, My All, to Heaven is Gone, y. Cennick. 51
Judith ; Our God Alone can Save us, y. Concone, 106
Land of Dreams, The, F. Enoch, 93

Landing of the Pilgrims, Felicia Hemans, 125

FRANKLIN SQUARE SONG COLLECTION

Last Night When All Was Still, H, Rjerulf, lo
Lavender's Blue, - Nursery, 171

Let Worldly Minds the World Pnisne, ci

Light and Rosy be Thy Slumbers, Swedish. 88
London Bridge, - Playtime Song, 139

Lo! the Seal of Death is Breakin|;, Jewish Air, 173
Lullaby from Erminie, £, Jakobowski, 20

Majestic Sweetness Sits Enthroned, S, Stennett, 113
March, March, .... Round, 105
Maryland, My Maryland, - y, R, Randall. 140
Mary Morrison, Robert Bums, 32

Meet Me by Moonlight Alone, J. A, Wade, 128
Mid Scenes of Con&ion, '^

David Denham, 48

- A, S, Shelton, 129

y, IV, Cherry, 175

- Folksong. 137

Stephen Glover.

Charles Jefferys,

Kindergarten,

M, P, King.

Anonymous.

144

75
III

63
147
5>
45

'IS

76

139

Mistress Santa Claus,
Monarch of the Woods,
Mountain Boy, The,
Murmuring Sea,
Music at NightfidJ,
Music of Labor,
Must I Leave Thee, Paradise I
Must I Then Leave ?

Must Jesus Bear the Cross Alone? T. Shepherd,
'New Hail Columbia, - O, W. Holmes,

Nobody Knows the Trouble I've Seen, Slave,
"Novr All the Bells are Ringing, Easter Carol.
l^^ow the Day is Slowly Waning, A, Reichardt,
October Gave a Party, - Alexander Lee,

Of All the Busy People Round, Ada S, Shelton, 129
Oh, Are Ye Sleepin*, Maggie? R, Tannahill. 35
Oh, at Thy Feet How Happy, - H, Weidt, 62
Oh, Don't You Remember? - T, D, English, 19
Oh, for a Thousand Tongues, Chas, Wesley. 61
Oh, Happv Day that Stays, P, Doddridge, 113

Oh, Loved Italia, - - - G, Verdi. 43

Oh, Sister Dear, - - D, F, E, Auber, 146

Oh, Smile as Thou Wert Wont, M. W, Balfe. 100
Oh, Solemn Hour, When Hearts, A, Adam, 133
Oh, Who So Gay and Free ? Anonymous.

Old, Old Song, The, //. B, Famie,

Once Again, - Arthur Sullivan,

One or Two, - - - W, T. WHghton,
On Foot I Gaily Take my Way, - German.

On the Mountams,
On Tombigbee River,
Our Flag o'er us Waving,
Our Home is on the Sea,
Our Way Across the Sea,
O What Can You Tell?
Peaceful Fold, The,
Peace on Earth,
Pierrot,

Poor Johnny's Dead,
- ^hyme of the Rail,
Ring On, Sweet Angelus,
Rose of Lucerne,
Round the Comer,
Row thy Boat Lightly,

>55
91

"7
74

122
92
98

154

yules Benedict,

S. S. Steele.

G. Verdi.

y. Offenbach, 123

Anonymous. 73

R. IV. Raymond. II2

Horatius Bonar, 145

G. Donitetti, 127

W.M.Hutchinson. 66

Rounds 105

yohn G. Saxe.

- H. B. Famie.

Swiss.

Albert Randegger.

I. B. Woodbury.

Ciro Pinsuti.

176
137

57

Safe Home at Last, - Ciro Pinsuti. 59

Safely Through Another Week, John Newton. 49
Sailing, ... - Godfrey Marks, 17
Saints' Sweet Home, The, - David Denham. 48
Saw Ye My Saviour ? - Anonymous, 96

See the Proud Banner of Liberty, G. Verdi. 154
Sigh Not o'er Toil and Trouble, W. Mozart. 52
Silently, Silently, - - • Little Folks. 138
Sing it Over, .... Round. 23

Singing Thro' the Forest, - yohn G, Saxe. 33
Slave Hymns: Keep Me from Sinking Down,

The Lily of Che Valley, Many Thousand Gone, 135
Sleep, Baby Dear, - - W, Tauwitz. 25

Sleep, Sleep, My Darling, • - Lullaby. 89

Sometimes I Dream,
Song of the Children,
Song of the May,
Sorry Her Lot,
Speed, My Bark,
Stay, My Darling, Stay,

Mary Mark-Lemon.

English.

German.

Arthur Sullivan.

S. Neukomm.

A. Reichardt.

StiU So Gently o'er Me Stealing, V. Bellini.

Storm, The,
Strawbeny Girl, The,
Sunshine and Oond,
Swedish Cradle Song,
Sweet Byand-By, The,
Swiss Girl, The,
Take Back the Heart,

yohn Hullah.

Arthur Sullivan,

C W. Glover.

Lullaby.

y. P. Webster.

George Linley.

Mrs. C. Barnard,

That Old Waltz by the Linden Trees, H. Aidi.
The Baimies Cuddle Doon at Nicht, Anderson.
The Birds Must Know, - Helen Hunt.

The Campbelb Are Coming, • Scotch.

The Distant Shore, • - W. S. Gilbert.
The Flowers that Bloom in the Spring, Sullivan.
The Light House, Thomas Moore.

The Lwd into His Garden Comes, y. Ingalls,
The Meicy Seat, - Hugh StowelL

The Scene Was More Beautihtl Far, T. Moore.
The Shadows Lie Across, W, M Hutchinson.
The Scout, - • - Fabio Campana.

The Sun was Clear on the Open Lea, Sullivan.
The Tear, - - F. Gumbert.

The Tempest Rages Wild, A. A. Proctor.

The Time of the Singing of Birds, Geo. Barker,
There's a Green Hill Far Away, R. S. Willis.
There's a Land that is Fairer than Day, Bennett.
There is a Land, a Radiant Land, A. Wilton.
There is Dew for the Flow'ret, Thomas Moore.
The Weary are at Rest, - Irish Dirge,

This is My Dream, - Milton Wellings.

Thou art So Near and yet So Far, A, Reichardt.
Thy Voice Is Near, W. T. Wrighton.

'Tis God Who Ordains Me, - y. Concone.
Tit- Willow, - Arthur Sullivan,

Too Late! Too Late \ - - M, Lindsay,
Tramp, Tramp, Tramp I - George F. Root.
True Love is Sweet, - W. M. Hutchinson.

'Twos a Pleasant Summer's Morning, Hatton.
Uncle Ned, . - - Stephen C. Foster.
Wandering in the May Time, Stephen Glover.
Wandering Willie, - - Robert Bums.
Wearing of the Green, - Dion Boucicault.
We'll go to the Mountains, - - Tyrolien.
We'll Laugh at Care and Sorrow, Anonymous.
We May Be Happy Yet, - M. W. Balfe.
What Means this Glory? y. R. Lowell.

When I Come, - - Suabian Folksong.
When Night Comes o'er the Plain, S. Nelson.
When the Boats Come Home, Sarah Doudney,
When the Kye Come Hame, Ettrick Shepherd.
When the Soft Twilight Falls, - R. Schumann.
When This Cruel War is Over, C. C. Sawyer.
When We Arrive at Home, - yer. Ingalls.
When Wild the Night and Dark, G. C. Binrham.
Where Gadie Rins, yohn Jmlah.

Why Seems This Day So Bright ? R. Genee.
Wide-Wide-Wenne, - - German.

Within this Sacred Dwelling, • W. Motart.
With Joy We Hail the Sacred Day, H, Auber.
Words, Vain Words, . - Russell Gray.
Ye Golden Lamps of Heaven, P. Doddridge
Y'heave ho, My Lads, - Godfrey Marks.
You and Me, ... Thomas Moore.
Young May Moon, The - Thomas Moore.
Zephyr of Nightfall, The - Anonymous.

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HOME AGAIN.

Marshall S. Pikb.
Per. Oliver Ditson & Co.

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1. Home a -gain, home a -gain, From a for-eign shore! And oh, it fills my soul with

2. Hap • py hearts, hap- py hearts, With mine have laughed in glee, But oh, the friends I loved in

3. Ma • sic sweet, ma - sic soft, Lin - gers round the place. And oh, I feel the childhood

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joy, To meet my friends once more. Here I dropped the parting tear. To cross the o • cean's
youth Seem hap-pi - er to me ; And if my guide should be the fate, Which bids me longer
charm That time cannot ef • face. Then give me but my homestead roof, I'll ask no pal - ace

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foam. But now Tm once again with those Who kindly greet me home. Home again. Home again,
roam. But death a • lone can break the tie That binds my heart to home. Home again. Home again,
dome. For I can live a hap-py life With those I love at home. Home again. Home again.

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from a foreign shore. And
from a foreign shore. And
from a foreign shore. And

oh, it fills my soul with ioy,
oh, it fills my soul with joy,
oh, it fills my soul with joy,

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To meet my friends once more.
To meet my friends once more.
To meet my friends once more.

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FRANKLIN SQUARE SONG COLLECTION

Melody: This is the ¥Wtf-cry of amateurs. Of
coarse, there is no music without melody, but you
must know that what these persons mean by this word
are tunes easily retained, rhythmical and agreeable.
Notwithstanding there are others having little resem-
blance to these last, and which, when you turn over
the pages of Bach, Mozart, Beethoven, appear to you
in a superior light. If, when running your fingers
over the instrument, you should meet with little
melodies wkich follow and run into each other, it is
already a fair result; but if without the help of the
instrument one of these melodies occurs to you, it is
still better, and you ought to be a hundred times
more pleased. It is then that the inward sense of the
tone has awakened in you. The fingers must execute
that which the brain has conceived, not the contrary.
If you begin to compose, meditate, combine and ar-

range everything in your head ; do not try a piece on
your instrument before you have fixed it in your
mind. If the music proceeds from your inward sense,
if you have felt it, it will likewise move others. If
Heaven has blessed you with an active imagination,
you will remain for hours with your instrument, as if
vou were bewitched by it ; you will aspire to throw-
mg your entire soul into celestial strains. Those
moments are some of the most pleasant to young
musicians. But be careful not to give yourself up too
often to this kind of talent, as nearly always it leads
you to waste your strength aud time upon what, so to
speak, are but airy phantoms. It is only by the most
careful precision and accuracy of writing music that
you will be enabled to master form, and to express your
ideas clearly. Thus you must apply yourself more
to composing than to improvising. — R. Schumann.

WANDERING WILLIE.

Robert Burks.

m^Ahu\imi^^. i ^\y^h I

/Here a - wa, there a- wa, wandering Willie, Here a- wa,there a-wa,haud a-wa hame; \
'\ Come to my bo-som,my ain on-ly dearie. Tell me thou bring*st me my Willie the same. /

f Rest, ye wild storms, in the caves of your slumbers, ' How your dread howling a lov-er a - larms;!
* \ Wauken, ye breezes I row gent-ly, ye billows I And waft my dear laddie ance mair to my arms, j

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Win - ter winds blew loud an' cauld at our part - i ng, Fears for my Wil-lie brought tears to my c'e ;
But oh ! if he's faithless, and minds na his Nan - nie, Flow still between us, thou wide roaring main,

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Welcome now Simmer, and welcome, my Willie, The simmer to na-ture, my Wil-lie to me.
May I never see it, may I nev-er know it. But dy-ing be-lievethat my Willie's my ain.

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Much may be learned fix>m the great singers, but all
their teaching is not to be accepted. Remember that
you are not alone in the world ; therefore be modest.
Do not forget that all you think of or discover has
been thought of or discovered by others before your-
self ; even should an idea be really your own, treat it
as a gift from Heaven that you ought to share with
all. The study of the history of music, and the prac-
tice of its masterpieces of the different epochs, will
teach you best how to avoid vanity and presumption.
If, when passing a church, you hear the organ playing,
enter and listen ; the grandeur and power of^ our art
commands your admiration. Take advantage of every
opportunity you have of practicing on the organ ; there
is no instrument more efficacious in correcting errors
and habits of a bad musical education. — Schumann,

Nothing is more comfortable, and what besides such
a source of pleasure and benefit at home or in school,' as
pleasant, kind, soothing, decided tones ? They carry a
power beyond estimate. Use gentle tones even when
most decided. Watch the voice day by day as a pearl
of great price, worth vastly more than diamonds. A
good voice is more valuable to a teacher than a diploma ;
it is like a lark's song. Its capacity for improvement is
marvellous. The psalmist calls it his ** glory." Henry
Clay's voice was compared to a band of music ; Web-
ster's to a trumpet, and Channing's to a harp. When a
man once complained to the latter of the severity of
Christ's denunciation of the Pharisees, he read the pas-
sage to which reference was made, in such calm, solemn,
and sympathetic tones that the critic exclaimed : " Well,
if Christ spoke in that way my objection is withdrawn."

FRANKLIN SQUARE SONG COLLECTION

Cremona! Who h«s not heard of this now cele-
brated Italian city? And yet but for a violin maker
it is very probable that it would never have been known
beyond the circle of its own local interests and its rela-
tions with neighboring cides. Now» however, its"
name is a spell to conjure with. A Cremona violin is,
to a rich amateur, a loadstone that is sure to attract the
shining metal from the depths of his purse. Thirty-
five hundred dollars have been given for a Guamerius
violin, and a much higher price for a Stradivarius.
Like pictures, the Cremona violins are noted works of
art, and like them also, they were once to be had for
trifling sums. Some of these violins that cost but three
or four pounds each are now worth as many thousands.
Cremona instruments have even been considered a
worthy gift to pass between crowned heads. But

Cremona has lost its most famous names from among
its citizens, and with . them its most distinguished
characteriistic. For a hundred years no maker of great
skill has arisen to dispute the place with the Amati,
Stradivarius and Guamerius, l^ whom the £eune of
Cjemona will becarricd to distant generations. It is
now about three centuries since there flourished at
Cremona its finst great violin maker. Andrew Amati
appears to have been bom there in 1520, and died in
1580. The family was an ancient one, and is men-
tioned as early as 1097 in the records of the city.
There is no account of how Andrew Amati acquired
the art of violin-making; but it is dear that by some
means he had attained to a considerable amount of
skill. Some of his instraments are described as beau-
tifully made, and to have amber vamish of excellent

FAREWELL, THOSE HAPPY HOURS.

Modtratc.

^^^^^^

G. DomzBTTi.

X.I re - member well a sunny vale, Where, roses fair. were growing ; And perfume breathed in

2. But now the Summer's voice is dumb, All past her gracious blooming ; And sighing Autumn's

3. There are past scenes we love to trace. Fond scenes of youth and pleasure, Where hope and joy and

^ ^0 m p ^m f^ P — ^ ,^ ■ ^ ^ ,^ ^ ^ ^ ■

f ''" i JJ ^i J ^ JJj «s i ^. i^ J\tl^

ev - 'ry gale That o'er the flow'rs was blow-ing: Where are the friends I cherished then,Those
stormshavecome To weep the flowers' perfum -ing. Now all the forest boughs are thinned, Nor
ev • 'ry grace Filled up life's bliss-ful meas - ure : Farewell, those hap - py by-gotie hours ! Those

friends I knew so ear - ly ? Oh ! shall I nev - er meet again Those hearts I loved so dear - ly
fate can be e - vad - ed, Grieve gendy, gently, wailing wind, Their Spring-time glory fadeu.
hours that knew no sorrow ! To-day they bloom like summer flow'rs, Alas ! they're dead to-morrow !

m^

FF i f: | 'F i FrFF i FFF FiF g|:i: i f^ > iii

*=»=

g^

(quality of a deep, rich yellow, tinted with brown or
light red color. His violins appear to have been<
chiefly of the small pattem and high model. The
backs are mostiy cut the reverse way of the grain,
which is at variance with the present rale, forming
what are now termed *' slab " backs. They possess a
delicate graceful tone of wonderful sweetness, which
has also been more or less the chief characteristic of
the other makers of the family. With reference to this
peculiarity, an ancient writer observes that in the
times in which the Amati lived, the tone was not re-
quired to be of that powerful character which modem
players denumd, and that such an immense tone as
many later instraments possess would not then have
been tolerated. This is very probable, and may ac-
count also for the elevated model which was adopted

both by Andrew and some others of the Amati. This
model, conjoined with their beautiful workmanship
and genendly small size, combined to produce that
delightful clear sweet tone which, of all other makers,
the Amatis especially possess. They also made a
greater number of instraments of the smaller size than
what is known as the grand pattern, no doubt because
the tone produced by them was found generally suffi-
cient for the demand of the times. They were also
made to carry a much lower bridge and a lighter bass
bar than now used, and the proportions were arranged
accordingly. — Pearc^s " Violins and Violin Makers,^*
Whether in power, purity, and sweetness of tone
^-or beauty of wood and workmanship--the best
violins of Nicholas Amati, Antonius Stradivarius,
and Joseph Guamerius have never yet been equalled.

8

FRANKLIN SQUARE SONG COLLECTION.

Instances without number might be dted to show
Uiat crerywhere the gift of mime may be rendered
one of the most predoos blessings a kind ProTidenoe
has conferred. Bat no argvment is needed on this
point It is safe to pcesume that most'^panats would
be glad to have their childMn receive instniction in
music. Indeed, most intelligent parents, did they
consult their own wishes, would taJce this advice of
an eminent teacher: "In the first (dace you must en-
deavor to have your children surrounded by as much
of a musical atmosphere as possible. They should
hear music of some kind from their earliest infisncy,
and thus the cultivation of their perceptions will
begin long before they are able to ^>eak. Lord

Baeon declared it as his conviction that he learned
man befose he was six yean eld than he did m all
the vest of his life togeOicr. The mind of a young
child is like a sponge; it is nady to receive and ab-
sorb everythin^f with which it comes into contact.
This law appbes pre-cmineatiy to music, which is
based mofe upon the percep ti ons and the emotional
nature than mgwi the intellect. Music is also lecog-
tttzed as a stimnliDt to mental exertion. And if in
the case of the man of genhn, why not, to a certain
extent, in that of the pupit also at work upon kis
task? D'lsraeli, in The Litermry Ckaractcr, tells us
that Allieri often, before he wrote, prepared his mind
by listening to music : ^ Almost all my tragedies were

WHEN THE BOATS COME HOME.

T. MooMi.
Sarah Doudnby.

I. There's light up - on the sea to - day, And glad - ness on the strand ; Ah ! well ye know that

1. There's light up - on the sea to - dinr. And glad - ness on the strand ; Ah ! well ye know that

2. We tend the children, live our life, And toil and mend the nets; But is there ev - er

3. There's glo - ry on the sea to-day, The sun • set gold is bright; MethoughtX heard a

hearts are gay When sails draw nigh the land I
maid or wife Whose faith-fol heart for • gets ?
grandsiresay, <<At eve it shall be light ! "

We followed them with thoughts and tears, Far,
We know what cm - el dan-gerslie Be •
O'er waves of ays - tal touched with fire, And

if'iVjjijini^'^fii^-yiVj'^

r

boats (

far a -cross the foam; Dear Lord, it seems a thousand years Un -til the Boats come home!
neath that shining foam, And watch the changes in the sky Un • til the boats come home,
flakes of pear- ly foam, We gaze, and see our hearts' de - sire. The boats are com - ing home!

sketched in my mind either in the act of hearing
music, or a few hours after," a circumstance which
has been recorded of many others. Lord Bacon had
music played in the room adjoining his study ; Milton
listened to his organ for his solemn inspirations; and
music was even necessary to Warburton. A cele-
brated French preacher, Bourdaloue or Massillon,
was once found playing on the violin, to tone his
mind up to the pitch preparatory to his sermon,
which, within a short interval, he was to preach before
the court. Curran's favorite mood of meditation was
with his violin in his hand; for hours together he
would forget himself, running voluntaries over the
Strings, while hb imagination, in collecting its tones,

was opening all his fitculties for the coming emer-
gency at the bar. There should then, for a hundred
reasons, be *< music everywhere ; " and in all schools
of primary or advanced grade a teacher should be
found who is able either to lead in singing or to per-
form on melodeon, organ, or piano. The school of
the future, without its musical mstrument, will be re-
garded as incomplete in its equipment The work
is now going forward. The sale of good instruments
to schools is steadily increasing. And these are fur-
nished at prices that bring them within the reach of
any good school in the country, whose patrons are
intelligent in this direction, and where the teacher
employed as instructor is progressive in the best i

FRANKLIN SQUARE SONG COLLECTION.

Looking at creation with the eye we find mathe-
matical laws in gravitation and crystallization, and
infer, as we must» that there is a mind behind the
laws that speaks to our minds through them. So
using the ear and hearing sounds that touch our
hearts, we must infer that there is a heart behind the
laws of sound that seeks to reveal itself to us through
them. We cannot escape this conclusion. For as
the mind can get out of creation no more mathemati-
cal relations than were put into it, so the heart cannot
get from sounds more emotion than was originally
lodged in the laws that produce sounds; the effect
never exceeds the cause. If the laws of nature seen
by the eye reveal an infinite thought or thinker, so

these laws heard by the ear and acting on the heart
reveal an infinite heart that ordained them. But
the laws of sound rest as fully on mathematics as do the
laws'of gravitation and crystallization, and so point
to the same source— ^ye and ear, mind and heart,
resting on One who is both mind and heart. There
are theories that conceive of the source of cre-
ation as only thought, because they find everywhere
thought-relations ; other theories which daim that it
is ibice, because they find a universal and inde-
structible eneigy; but it would be as logical to claim
that this original source is feeling or emotion, for
there is as much in the universe to awaken emotion
as there is to indicate thought or eneigy. — Munger,

THY VOICE IS NEAR

MadtraU.

W. T. Wrighton.

Moderate. I . i . *i * I *

1. Thy voice is near me in my dreams, In ac - cents sweet and low,

2. From night to night my wea - ry heart Lives on the treas • ured past, And

H'u p i p f f f l p.pf ^ 1 ^ F-4^

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Tell-ing of hap - 1» - ness and love In days long, long a - go; Word af-terwordi

ev - 'ry day I foud-ly say He'll come to me at \!a\ But still I weep, I

fe-'re'Spp i epfp i ppf-f i r^f i P'^

ir '"' iJii.;i ^1 ji' ^^^ Jiji.'

think I hear, Yet strange it seems to me, Tnat, though I lis -ten to thy voice, Thy
watch, I pray, As time runs slow -ly on, And yet I have no hope but thee. The

B«f ff pip: cp: gif.fr fffHff i p *\ \

face I nev - er see, Thy face I nev-er see. Thy

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sua:

face I nev - er see, 'fhy face I nev-er see,
first, the dear - est one. The first, the dearest one.

Thy face I nev-er
The first, the deafest

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see; That, though I lis -ten to thy voice,
one; And yet I have no hope but thee,

to'« p-ff i p' f. f.^

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Thy fiice I ilev - er
The first, the dear - est

J*.

see.
one.

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lO

FRANKLIN SQUARE SONG COLLECTION

Music as an expression of fseiing is a prophecy of
that grander exercise of our nature for which we
hope. It is the nature of feeling to express itself.
Thought may stay behind silent lips, but when it be-
comes feeling it runs to expression. So far as we can
reason from ourselves, we cannot believe that the
universe sprang out of thought. Thought would not
have made this mighty expression that we call crea-
tion; it is an expression of feeling — some infinite
emotion that must find vent or the infinite heart wiU
burst with its suppression. Music is an illustration
of this law of our emotions, and is the natural ex-
pression of great and deep feeling. When great
crises iall upon nations and oratory fails to give full
vent to the heroic purpose of their hearts, some poet

links hands with some composer, and so a battle-hymn
sweeps the armies on to victory — the fiery clangor
of the Marseillaise, or the sad, stately rhythm of the
John Brown hymn. History sdl along culminates in
song. The summits of Jewish history, from Miriam to
David, are vocal with psalms. There is nothing grand
in thought, deep in feeling, splendid in action, but runs
directly to song for expression. When feeling reaches
a certain point, it drops the slow processes of thought
and speech and mounts the wings of song and so
flies forward to its hope. ** O that I had wings as a
dove ;'' the feet are too slow to bear us away from
our sorrow to our rest. In the simplest life there
is always this tendency of feeling, whether of joy
or of sadness, to voice itself in melody. — Munger,

LAST NIGHT. W HEN ALL WAS STILL

Halfdan Rjbrulf.

fe'iJ£^JJ l 3^ l ij^Ji l ^lJ'^- | -i1JVj^^jV^

Andantino.

1 . Last night the nightingale woke me ! Last night when all was still ! It sang in the golden moon -

2. I think of you in the day-time, I dream of you by night, I wake and would you were here,

3. Oh, think not I can for -get you; I could not, though I would ; I see you in all a- round

light. From out the woodland hill. 1 o - pen'd my window so gent
love. And tears are blinding my sight. I hear a low breath in the lime •
me. The stream, the nightahewood, The flowers that slum-ber so gent

■ ly, I look'd on the
tree, The wind is
ly. The stars a -

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you, of you I
you, for you!
you, for you !

dreaming dew, And oh! the bird, my darling. Was singing, singing of
float- ing through; And oh! the night, my darling. Is sighing, sighing for
bove the blue; Oh ! heaven it • self, my darling. Is praying, praying for

^

'^'^MM^hfl^'^i w rn^. T t

English version by Theodore Marzials, after German translation by Chr. Wintber, firom die Swedish.

Never refuse to join in a chorus; take rather an
intermediate part; this class of practice contributes
towards making you a good musician. But what is it
they call being agood musician ? You are not a good
musician if, keeping your eyes anxiously fixed upon
the notes, you get to the end of your task only with
difliculty; if, some one having turned over two pages
at once, you stop short and are unable to continue.
You are a good musician if you can apprehend what
follows, or if you can remember it in pieces which
you have already seen , in a word, if you have music
not only in your fingers, but in your head and heart.
But how does one become a good musician? My
dear friend, the requisite qualities for that — a correct

ear and a prompt conception — are a gift from above.
But these good dispositions may be cultivated and
improved. You will not become a good musician if you
shut yourself up out of the world and devote yourself
solely to studies which are practical and mechanical ;
but by constant intercourse with the musical world,
particularly with orchestras and choirs. — Schumann,
Singing will prove a pleasant auxiliary in all the
work of the school-room. If pupils are dull, uneasy,
or too playful, call upon them to sing one or two good
songs, and the result will be highly salutary. Angry
or dull feelings will be dispelled, and a spirit of cheer-
fulness produced throughout the school. You may
safely introduce music, devodng some time to it daily.

FRANKLIN SQUARE SONG COLLECTION

COME BACK TO ERIN.

II

Mrs. C. Barnard.

g'' . i J::fij,1J l;tH\ttt^M^^^ ^

1. Come back to £-rin, Mavouraeen, Mavourneen, Come back, Aroon, to the land of thy birth,

2. O - ver the green sea, Mavourneen, Mavoumeen, Long shone the white sail that bore thee a > way,

3. Oh, may the an -gels o' wak « in' and sleepin', Watch o'er my bird in the land far a - way.

^

birtr^'^rrutrrnrrrr

2X2

% .1 ,r.j.Lj,j i J j'j'j . i ijj,.fjj..^Jjijj

Come with the shamrocks and spring-time, Mavoumeen, And it's Kil-lar-ney shall rine with our mil

Come with the shamrocks and spring-time, Mavoumeen, And it's Kil-lar-ney shall ring with our mirth.
Rid - ing the white waves that fair summer morn - in' Just like a May flow'r a - float on the bay.
And it's my pray'rs will consign to their keep - in' Care of my jew • el by night and by day.

w

fBffH ,^ ff ; i rrli ;

Sure, when we lent ye to beau - ti - ful England, lit - tie we tho't of the lone win-ter days,
Oh, but my heart sank when clouds came between us, like a grey cur- tain, the rain fall -ing down,
When by the fire - side I watch the bright embers. Then all my heart flies to England and thee,

tfi i J:Jj^ l J j.JJi l d J:J'J ll\/^:im

lit -tie we tho't of the hush of the star-shine O- ver the mountain, the blufis and the brays! Then
Hid from my sad eyes the path o'er the o - cean, Far, hi away, where my Colleen had flown. Then
Cravin' to know if my dar-lin' re-members, Or if her tho'ts may be cross • in' tome. Then

Am'maio. ^

m

g^JjjJj Jyj J Ij / /J I M ^-'^

come back to £ - rin, Mavoumeen, Mavoumeen, Come back again to the land of thy birth,

Come back to £ - rin, Mavourneen, Mavourneen, And it's Ril - lar • ney shall ring with our mirth.

m*m m-

^

vir

m

H 1— — W ^ I

i I ' 1 \/ >

f FT i frff iiii

13

FRANKLIN SQUARE SONG COLLECTION.

Wrapped in this ancient garment, he would sit be-
side Mark, listening to the boy's stories with his deep
unfathomed smile ; and as he went on with his histor-
ies, the boy used to look into his companion's fiice,
wondering at the slow smile, and at the deep wrinkles
of the worn visage, tiU at length, fascinated at the
sight, he forgot his stories, and looking into the old
man's face appeared to Mark, though the comparison
seems preposterous, like gazing at the fated story of
the mystic tracings of the star-lit skies. Why the old
man listened so patiently to these childish stories no
one could tell ; perhaps he did not hear them. He
himself said that the presence of Mark had the effect
of music upon his worn and jaded sense. "The
Maestro has been talking to me this morning," he

said one day. "He thinks that life is imperfect,
struggling, a failure, ugly most often; that art is. per-
fect, complete, beautifiU, and full of force and power;,
but I tell him that some fiiUnre is better than success;
sometimes ugliness is a finer thing than beauty ; and
that the best of art is only that wmch rei»x>duces life*
If life were fashioned after the most perfect art, yott
would never be able to cxy, nor to make me cry, a»
you do ov«r your beautiful tales. Then I think that
somewhere there must be a higher art that surpasses
the realism of life — a divine ait which is not Ufe but
fashions life. When I look at you, little one,"
Carricchio went on, '* I feel almost as I do when the
violins break in upon the jiar and fret of the wittiest
dialogue in the play. Jest and lively fancy — these

WANDERING IN THE MAY-TIME.

Stbphrn Glovrx.

ijjj; i j j i ; JJ / i j,- u v;/ i j p

1. Wand'ring in the May - time, Sweet it is to rove Just be -fore the hay - time,

2. Spring, she is a maid - en, Wait-ing to be wooed, Hid-ing, blossom - la - den,

3. Yes! her sweets we'll ri • fle, All her bright-est fiow'rs, Of her wealth a tri - fle,

hgHs i f r i ^^tff^ g e nf F

iHi^ii' \ lUi \ ^i\i^i UM i i t

Thro' the leaf- y grove. Where the grass is bend- ing Wavelike in the breeze, And the white thorn's

In her sol - i - tude; Coy she is and meek - er Than the Summer fair. But for those who

They shall soon be ours; Wherethebirdsare sing -ing Welcome to the May! Where the fiow'rs are

H,,fJ;O i N'.rj U:-i J^Jj | ;'^^' i HJJ i

1 1^*1

rff

f=f

3^

send - mg Perfume from the trees,
seek her She has gifts more rare,
springing. There we'll be to- day.

And the white thorn's send-mg Perfume from the trees.

But for those who seek her She has gifb more rare.

Where the flow'rs are springing, There we'll be to - day.

m

pf i fl-fffff^fCgf i f F i ff^fa

Or, iint vene may be sung as Chorus, second as Solo, and third as Semi-chorus, each followed by ist as Chorus.

are the sweets of life, no doubt — and humorous
thought and speech and gesture— but they are not
this divine art, they are not rest They shrivel and
wither the brain. The whole being is parched ; the
heart is dry in this sultry, piercing light. But when
the stringed melodies steed in, and when the rippling,
surging arpeggios and crescendos sweep in upon the
sense, and the stilled cadences that lull and soothe —
then, indeed, it is like moisture and the gradons dew.
It is like sleep; the strained nerves relax ; the over-
wrought frame, which is like dry garden mould, is
softened, and the flowers spring up again." Carricchio
paused ; but as Mark said nothing, he went on again.
" The other life is gay, lively, bright, full of excite-
ment and interest, of tender pity even, and of love —

but this is rest and peace. The other is human Ufe,
but what is this ? Art ? Ah ! but a di vi ne art. Here is no
struggle, no selfish desire, no striving, no conflict of
love or of hate. It is like silence, the most unselfish
thing there is. I have, indeed, sometimes thought that
music must be the silence of Heaven." " The silence
of Heaven !" said Mark, with open eyes. « The silence
of Heaven ! What then are its words ?" " Ah ! that,"
said the old clown smiling, but with a sad slowness in
his speech, ** that is beyond me to tell. I can hear its si-
lence, but not its voice." — ** Little Schoolmasier Mark,**
How packed with emotions, how thoroughly attuned
to the heart of man, is the world of sound — a very voice
of God, which, if it could utter all its notes at once,
would give forth an infinite and eternal harmony.

FRANKLIN SQUARE SONG COLLECTION.

ANNA SONG.

'3

"Nanoh,

RrCHAKD Gl

1. Why seem this day SO brignt
Was isi tUnn heu^ wohl^

2. Why sing the birds on

brignt and gay ? Why seems the
Mfiur ein Tag', das mir sofroh
ev'ry bough In all the perfiii

j9

the sky so faur ? Why is my heart happy and light ?
'oh tu Sinn? Loot kuendet mir des Herzens Schlag^
perfumed air ? Why like a bee doth fan - cy go

I - ture sings cv - *ry where. Ah ! 'tis Saint Ann's day, Saint Ann's day, Saint Ann's day.

dassheui* ich se - Hg bin! Ei, heut* ist An • na, Sankt An -nay Sankt An - na!

From flow'r to flow'r more rare ? Ah ! 'lis Saint Ann's day. Saint Ann's day, Saint Ann's day.

^

No day so briffht and clear In all this long and hs^py year. . . .
Kein schoen^rer Tag noch war imgansen lieben Ian-gen Ja hr!

An-na, with rapture I
An-na, zu dir it/ mein

F-F£'F!F F'F Brff i FEFf:p: i e fess^i

ScStt:

iif i n,iii r; III Mij^rjjfii rn

^ ,^^- v^-" -'~g

come to tnee, I come to thee, I come to thee, An • na, my song un - to thee must be, T<
Ueb-ster Gangt mein liebster Gang^ mein liebster Gang ; Anna, dir toe-net mein be - ster Sangy m

o
mein

'■'V^FF l ^S^s i Fg

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Ij- I - 1 ;h r 1 i]]-jj fi I n,iii r;

thee must be. To thee must be, An-na, my deareM, be true to me, be true to me, be
oe - ster Sang, mein bester Sang / Anna^ Nanettchen^ weUh holder Klang, welch holder Klang, welch

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fi=e:

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)^LU-^'\j{^r^i'^ t\ ^j^yA\'\A\

true to me, An-na, in thy praise 1*11 sing my song, Yes, my whole life long.
hol'derJOangl An - na, dir sing* ich mein Le-ben lang, Ja^ mein Le - ben long.

14

FRANKLIN SQUARE SONG COLLECTION.

On Tuesday evening, April i6, 1861, great meet-
ings were held in Chicago. Fort Sumter had been fired
on, and GovcTuor Yates had been called upon for six
regiments of militia for immediate service. A grand
rally of the peoj^e was called to be held in old Mettx>-
politan Hall. The excitement was so intense that no
hall in the city could be found to accommodate even a
fair representation of the people inflamed by the news
from the South. It was decided to hold several gather-
ings. The main meeting was held in Metropolitan Hall.
Norman B. Judd, President Lincoln's intimate friend,
was chosen to preside. Owen Lovejoy made the most

stining speech of the evening. Then the new song-
just composed by George F. Root, entitled," The First
Gun is Fired ! May God Protect the Right !'* was sung
by Messrs. Lumbard. This was the opening of that
brilliant campaign of patriotic music which lasted dur-
ing the entire war for the Union. Alt over the land
the name of George F. Root is as familiar as that of the
old commanders among the boys in blue. The incident
alluded to, when the song, ** The First Gun is Fired !"
was brought out, was the beginning of that series of
soul-inspiring lyrics that sung themselves into eveiy
loyal heart. Hb most popular song, " The Battle Cxy

TRAMP, TRAMP, TRAMP!

Ttm^ di Marcia.

Gbokgb F. Root.

1 . In the prison cell I sit, Thinking, mother dear, of you, And our bright and happy home so far away. And the

2. In the batde front we stood When their fiercest charge they made. And they swept us off, a hundred men or

J more. But be •
bor,Andthe

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tears they fill my eyes Spite of all that I can do, Tho' I tiy to cheer my comrades and be gay.
fore we reach'd their lines, They were beaten back disma/d, And we heard the cry of vict'ry o'er and o'er,
hollow eye grows bright,And the poor heart almost gay , As we think of seeing home and friends once more.

m ^ ^m

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F

CHORUS.

Wiimi \ ^ j I J J J:J J: . U- H^

Tramp, tramp, tramp, the boys are march - ing, Cheer up, comrades, they will come,

And be •

ry flag We shall breathe the air again Of the free -land in our own beloved home,

u^fmm^^'^^ ^m

SSI

as.

^

S^

i ^ b i b ? U -Hg-

By permission S. Brainard's Sons, owners of copyright.

of Freedom," became popular very early in the war
and never lost its power. It was written in 1 86 1, on
President Lincoln's second call for troops, and after it
had received the stamp of popular favor in Chicago, it
was sung at a public meeting held in Union Square,
New York, by the well-known Hutchinson family.
From that hour its success was assured. Dr. Root,
who was given such a graceful and merited reception
r^ently (i8S8) in Central Music Hall, contributed
more patriotic and deservedly popular songs to our
literature than probably any other composer of his day.
Many and many a time were the little Christian Com-

mission hymn books, with the stars and stripes printed
on the covers, and filled with patriotism and piety,,
the rod that smote the barren rock in the moral des-
ert, and the wilderness was made to blossom as the rose.
These songs, among which ** Tramp, Tramp, Tramp !
the Boys are Marching " was one of the most popular
with the boys at the front, were just what Mtudoch's
readings or Cough's lectures were in camp or court.
The country owes much to men like Dr. Root, and should
not foi^et its debt to Henry C. Work and C. C. Sawyer,
and that elder race like Francis Scott Key, John How-
ard Payne, and Stephen C. Foster. — Chicago Tribune*

FRANKLIN SQUARE SONG COLLECTION

15

The famous Abbe Liszt does not see why, with all
the natural vocal oigans, every penoo should not be
as well able to sing as to talk. He says: « One of
tiie most distinguished schoolmasters of whom Prus-
sia can boast is at the same time an excellent reader.
Both his reading and conversation are musical—
highly so; and & various and beautiful intonations
might be graduated hf a scale. Yet he has never
learned to sing, having been early led to believe him-
self destitute of the necessary taste and talenL" We
have seen a little girl who aj^peared to be as destitute
of an ear for music, or of power to execute, as was

this schoolmaster. Yet her parents, being determined
that she should sing, contrived to set her a daily ex-
ample. This example, though not the most perfect,
aided by the custom of singing in the day-school and
Sabbath-school which she attended, at length wrought
a change in her, and she has long been a good
singer. A i^ain, common-sense man was accustomed
to say: "Any one who can call the cows can sing."
The remark has truth in it, even though we should admit
a somewhat wide, divers!^ in natural character. Every
one can read and speak with more or less of accuracy,
and of music, too; then why cannot every one sing?

ARABY'S DAUGHTER.

E. KlALLMAKK.

Thomas Moorb, 18x7.

f^are-well, O fare - well to thee,* Ar - a - by's daugh-ter! Thus war- bled a
\ No pearl ev - er lay un - der Oman's green wa • ter, More pure in its

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f ^ J J |J"= ^i \ l i jlj ^ jlj J717J J

Pe • ri be-neath the dark sea; fOh, fair as the sea -flow- er close to thee

be-neath the dark sea; fOh, fair as
shell than thy spir -it in thee. \ Dke wind of the south o'er a sum - mer lute

grow - ing, How light was thy heart till love's witch-er - y came, f But long, up - on

grow - ing, How light was thy heart till love's witch-er - y came, f But long, up - on
blow - ing. And huui'd all its mu - sic, and withered its frame 1 \0f her who lies

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Ar - a - by's green sun - ny highland. Shall maids and their lov - ers re - mem-ber the doom
sleep -ing a • mong the Pearl Islands, With naught but the sea -star to light up her tomb.

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And still, when the meny date-season is burning.

And alls to the palm-groves the young and the old.
The happiest there, from their pastime returning.

At sunset will weep when thy story is told.
The young village maid, when with flowers she dresses

Her dark flowix^ hair for some festival day.
Will think of thy fate till, neglecting her tresses.

She mournfully turns from the mirror away.
Nor shall Iran, beloved of her hero I forget thee, —

Tho' tyrants watch over her tears as they start,
Qose, close by the side of that hero she'll set thee.

Embalmed in the innermost shrine of her heart.

Farewell! be it ours to embellirh thy pillow

With everything beauteous that grows in the deep;
Each flower of the rock and each gem of the billow

Shall sweeten thy bed and illumine thy sleep.
Around thee shall glisten the loveliest amber

That ever the sorrowing sea-bird has wept;
With many a shell, in whose hollow-wreath'd chamber^

We, Peris of Ocean, by moonlight have slept.
Farewell! O farewell! until Pity's sweet fouutain

Is lost in the hearts of the fair and the brave, [tain»
They'll weep for the chieftain who died on that moun-

Tliey'll weep for the maiden who sleeps in the wave.

• from the Fire Wonhippen, third story told in LaHa Rookh.

i6

FRANKLIN SQUARE SONG COLLECTION.

Try to be early in possession of that knowledge
which is reouisite for tlie management and conduct-
ing of an orchestra. Often take notice of the best con-
ductors; even try to conduct an orchestra in thought,
and you will obtain a better idea of what you are
listening to. Be hot neglectful of the study of life, as
well as that of the other aits and sciences. Art is
governed by the laws of morality. You will always be
raising yourself by industry and perseverance. From
a p)ound-wcight of iron, the value of which is only a
few halfpence, are manufactured thousands of watch"

sprii^, worth a thousand times more (ban the iron.
Employ to advantage that pound which you have re-
ceived firom Heaven. Nothing great in art is accom-
plished without enthusiasm. 'Ae purpose of art is
not to procure you riches; first be a not>le aitist, and
the rest will be given you into the bargain. Some
one used to maintain that a good musician should, on
the first hearing of an orchestral piece, however com-
plicated, be able, as it were, to see the score before
the eyes of his mind. This is the highest degree of per-
fection which can be imagined.— J?^^«yf Schumann,

THE LIGHTHOUSE.

Thomas Moors?

|^'WJw:j';r i j:Jwj"J i JiiJjg' i

1. The sqene was more beau - ti - fill far to my eye Than if day in its pride liad ar

2. No long-er the joy of the sail - or-boy's breast Was heard in his wild - ly-breathed

3. The time is long past, and the scene is a - far. Yet, when my head rests on its

rayed it; Thelandbreezeblewmild,andtheazure-archedskyLook'dpureasthe Spi-rit that
numbers ; The sea - bird had flown to her wave - girdled nest ; The fish - er - man sunk to his
pil - low, Will mem-'ry sometimes re - kin -die the star, That blazed on the breast of the

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made it ; The murmur rose soft, as I si- lent- ly gazed. In the shadow - y waves' play- ful
slumbers. One moment I looked from the hill's gentle slope — All hushed was the bil- low's com •
bil - low. In life's closing hour, when the trembling soul flies. And death stills the heart's last e -

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motion, From the dim, distant hill, till the lighthouse fire blszed, Like a star in the midst of the ocean,
motion, — And thought that the lighthouse looked lovely as hope,That star of life's tremulous ocean,
motion. Oh I then may the seraph of mercy a-rise,Likeastaron e-ter-ni - ty's o- cean.

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Lyrics springing directly from the heart may be
compared with rippling springs. The majestically
flowing heroic poems, containing the emotions of en-
tire nations, are gigantic rivers nourished by countless
streams and brooks. The holy scriptures of all relig-
ions, into which the fancies, emotions, presentments,
and hopes of humanity flow, and from which they
ever renew themselves, are the all-containing, all-
nourishing, mysteriously surging oceans. Fanciful,
sparkling, rushing and effervescing humorous writ-

ing^, displaying at one moment playful jest and then
serious depth and force, are mighty waterfaUs. Sud-
den, uprising wit is the jet of a fountain ; the didactic
poem brought to light by dint of thought and medi-
tation, and offering mankind wholesome instruction,
is the living water dipped from a deep well. Comedy
exhibiting m a small frame a picture of the world is
the clear brooklet reflecting the sun. Thoughts that
dissect the elementary parts of a subject are drops of
water that resolve simple light into its rainbow hues.

FRANKLIN SQUARE SONQ COLLECTION

SAILING.

17

GoDFRBT Marks.

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t7^ ComS/irito. \ \ I I U

1. Y 'heave hoi my lads, the wind blows free, A pleas - ant gale is on our

2. The sai - loir's life is bold and free. His home is on the roU - ing

3. The tide is flow - ing with the gale, Y'heave ho ! my lads, set ev' - ry

II > > "^ . ~ ' ■ ' ^

lee; And soon a - cross the o- cean clear .Our gal-lant barque shall brave -\y*

sea; And nev - er heart more true or brave Than his who launch-es on the

sail; The har - bor bar we soon shall clear; Fare -well once more to home so

br^p»pC | »^F i f.p; i pee i FfF i FfFm

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steer. But ere we part from England's shores to-night, A song we'll sing forborne and beauty bright.
wave, A- far he speeds in distant climes to roam, Withjocund song he rides the sparkling foam,
dear, For when the tem - pest rag- es loud and long, That home shall be our guiding star and song.

ad lib.
A N> I J 1^ N ^ ^ 1 ^_Li^

Then here^s to the sailor, and here'sto ihe hearts so true. Who will think of him upon the waters blue

Then here^s to the sailor, and here'sto ihe hearts so true. Who will think of him upon the waters blue !

J^_fe_ _ - - > ! > I N ! l"

Sailing, sailing, over the bounding main ; For many a stormy wind shall blow, ere Jack comes home again

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Sailing, sailing, overthe bounding main ; For many a stormy wind shall blow, ere Jack comes home again.

i8

TXAI\rXLm SQUARE SOJiTG. VOLLSCTION.

Ths Cuniliar 8ong'<Ben Bolt" was written in 1842.
Dr. T. D. English its author, then resided in Philadel-
phia and was for years devoted to literary pursuits, as
author, editor, and contributor to literary periodicals.
He was visiting In New York, when N. P. Willis, who,
with George P. Morris, was editing the New Mirror^
asked him for a gratuitous contribution, and suggested
that it be a sea song. The song was promised, and
on returning to his home. Dr. £. attempted to make
good his word. Only one line that smacked of the .
sea came at his bidding; but at a white heat he com-
posed the five stanzas of " Ben Bolt," betraying the
original intention in the last line of the last stanza.
Within a year the poem had been reprinted in Eng-
land, and its author then thought it might be a still
greater favorite if set to appropriate music. In 1848,
a play was brought out in Pittsburgh, called "The

Battle of. Buena Vista," in which the song of " Ben
Bolt" was introduced. A. M. Hunt, an Englishman,
connected with westerxf journalism, bod read the words
in an English newspaper, and gave them' from mem-
ory to Nelson Kneass, filling in from his imagination
where his memory failed. Kneass adapted a German
melody to the lines, and they were sung in the play.
The (hama died, but the song survived. A music
publisher of Cincinnati obtained the copyright, and
It was the business success of his career. In thea-
tres, concert rooms, minstrel shows, and private parlors
nothing was heard but <* Ben Bolt" It was gzound on
hand-organs, and whistled in the streets, and *' Sweet
Alice " became the pet of the public. A steamboat
in the West, and a ship in the East, were named after
her. The steamer was lilown up, and the ship was
wrecked, but Alice floated safely in the fragile bark

DEPARTED DAYS

FORTOGUBSB AUH.

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1. Yes, dear, de-part - ed, cherished days. Could mem'ry's hand restore Your morning light, your

2. But, Hke a child in ocean's arms, We strive against the stream, Each momenit far - ther

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eve - ning rays From time's grey uni once more ; Then might this rest-less heart be still. This
from the shore Where life's young fountains gleam ; Each moment funt-er wave^ the fields. And

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Straining eye might close, And Hope her fainting pinions fold.While the fair loved phantoms rose,
wid-er rolls the sea; The mist grows dark, the sun goes down, Day breaks, and where are we?

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of song. The poem went abroad, and obtained great
popularity in England. The streets of London were
flooded with parodies, answers, and imitations, printed
on broadsides, and sung and sold by curbstone min-
strels. A play was written there, based upon it, and
as late as 1877 a serial novel ran through a London
weekly paper of note, in which the memories evoked
by the singing of ** Ben Bolt" played a prominent part
in evolving the catastrophe. Nelson Kneass came of
a good family, but preferred a semi-vagrant life. He
was a teacher, of music in New York, and a singer
in the Park Theatre, and afterward became a negro
minstrel. He was a jolly, companionable fellow, ** no-
body's enemy but his own," and ended a precarious
existence in poverty. He always complaimed that he
received but a trifle for the music. — Familiar Songs.

The poet Kari Theodore KSrner, bom in Dresden
in 1 791, was killed in batde in the twenty-second
year of his ige. His great genius was recognized for
years before his too early death. An ardent patriot,
he belonged to the famous Luezow's Corps, in which
he was a lieutenant. On the morning before his first
fight he composed the " Battle Prayer." Some time
later, while waiting in a wood through the night, expect-
ing an attack from the troops of Napoleon, he composed
his " Sword Song." In the morning came the attack
anticipated, and, while repulsing and pursuing the
enemy, he fell mortally wounded. The music, found
elsewhere, admirably adapted to the " Battle Prayer,'*
was written by Friedrich Heinrich Hummel, who was-
bom in Brandenburgh in 1765* Much of his music,,
both sacred and secular, is very popular in Germany*

FRANKLIN SQUARE SONG COLLECTION.

i«

BEN BOLT

Nblson Knsass.
Thomas Dunn Engush.

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1 . Oh t don't you remember sweet Alice, Ben Bolt, Sweet Alice whose hair was so brown. Who

2. Un - dcr the hick-o - ry tree, Ben Bolt, Which stood at the foot of the hill, To -

3. And don't you remember the school, Ben Bolt, With the master so kind and so true, And the

4. There is change in the things I loved, Ben Bolt, They have changed from the old to the new ; But I

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wept with delight when you gave her a smile, And trembled with fear at your frown? In the

geth - er we've lain in the noon-day shade, And listened to Ap - pie - ton's mill. The mill -

sha - ded nook by the running brook, Where the fairest wud flow'rs grew ? Grass

feel in the depths of my spir - it the truth, There never was change in you. Twelve

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old church-yard, in the val • ley, Ben Bolt, In a cor-ner ob-scureand a - lone. They have

wheel has fall -en to pieces, Ben Bolt, The raft-ers have turn - bled in, And a

grows on the master's grave, Ben Bolt, The spring of the brook is dry, And of

months twen - ty have past, Ben Bolt, Since first we were friends — ^yet I hail Thy

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fit - ted a slab of the granite so gray. And sweet Alice lies ' un • dertfie stone, They have

qui • et that crawls round the walls as you gaze. Has followed the old - en din. And a

all the boys who were schoolmates then, There are on - ly you and • I, And of

pres-ence a blessing, thy friendship a truth, Ben Bolt of the salt - sea gale. Thy

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fit - ted a slab of the granite so gray. And sweet Alice lies un - der the stone,
qui - et that crawls round the walls as you gaze, Has fol • lowed the old • en din.

all the boys who were schoolmates then. There are on • ly

presence a bless-ing, thy fiiendship a truth, Ben Bolt, of the

you
salt

and
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I.
gale!

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FRANKLIN SQUARE SONG COLLECTION.

LULLABY FROM "ERMINIE."

Modtrato.

C. Bbllamt.
£. Jakobowski.

1. Dear moth -er! in dreams I see her, With lov'd face sweet and calm, And

2. Ah I e'en when her life was eb - bing Her words were all of me, My

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hear her voice with love re - joice When nest -ling on her arm; I

fu - ture years were all her fears, Lest an • guish I should see ; My

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think how she softly pressed me. Of the tears in each glist'ning eye, As her watch she'd keep when she
fa - ther, I hear him weeping As, in sor - row standing by. Comes my mother's plamt in those

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la - by, Bye,bye,bye,bye, bye, bye, bye, bye, bye,

rocked to sleep Her child with this lul
ac - cents faint, Her tender, sweet lul - la - by. Bye, bye, bye, bye, bye, bye, bye, bye, bye^

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bye, bye, bye, bye, bye. Bye, bye, drow - si - ness o'er- tak - ing, Pret-ty lit - tie eye- lids

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sleep.- Bye, bye, watchingtillthou'rt waking; Darling, be thy slum-ber deep.

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FRANKLIN SQUARE SONG COLLECTION.

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Bye, bye, drow-si-ness o'er-tak-ing; Pret-ty lit -tie eye -lids sleep. Bye, Dye,

b^^ i fTft'fr i ffnrr i r u MtC i

Or this Vocal acctnnpantmtni may bt Sung with Solo, ifpreftrredt asintlu Stag* re/restntatioH ^the Optrm,

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watching till thou'rt waking; Darling, be thy slumber deep! Bye, bye, bye, b3re.

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Bye,

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bye, bye, bye, bye, bye, bye.

SONG OF THE MAY.

S

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1. I wel - come thee with glad-ness. Thou bright and blooming May, So long in wea - ry

2. No long - er Elarth lies dreaming, No long - er hearts are sad. But all the woods ai«

3. Freed by the warm sun's pow - er The brooklets speed a - long. To kiss each bend - ing

4. Oh, that to me were giv - en Some lit • tie bird's swift wing, In - to the far blue

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sad - ness We mourned at thy de - lay, So long in wea-ry sadness We mourned at thy de - lay.
gleaming,With tender ver - dure dad, But all Uie woods are gleaming. With tender verdure dad.
flow - er, And wake the wild-bird's song, To kiss each bending flower,And wake the wild-bird's song.
heav-enThatI might soar and sing. In - to the Ceut blue heaven That I might soar and sing.

hftt i ^^^n F^ t^ rr r i i' ^ F i ^ff i fi i

33

FRANKLIN SQUARE SONG COLLECTION.

As you advance in age, do not occupy yourself
touch with things that are simply fashionable. Time is
f>recious» and we would have to live a hundred lives
M we wished only |to know all that is good. Men
of robust constitution are not produced by feeding
<:hildren on sweetmeats. Nourishment for the mind
9ught to be as plain and substantial as that for the
body. The first has been abundandy supplied us by
the great masters ; keep to it. Do not encourage bad
compositions, but, on the contrary, help energetically
in their suppression. You must never play bad com-
positions, nor even listen to them, if you are not forced
to do so. Do not run after that brilliant execution
which is called " /tf ^tftwrfl." Try to produce an im-

pression by rendering the idea which the composer
aimed at expressing; to attempt more than this is to be
ridiculous. Consider it as something odious to alter
anything in the works of the masters, to omit anything
or to add anything new; liberties of this nature are an
insult to art On the subject of a proper selection of
pieces for study, address yourself to persons older than
you are, and you will thus avoid a waste of time.
Apply yourself to becoming acquainted successively
with the principal works of the great masters. Do
not allow yourself to be led away by the applause
which is obtained by popular performers; adways
have a preference for the praise of artists rather than
for the applause of the multitude. — R. Schumann.

ROW THY BOAT LIGHTLY.

I. B. Woodbury.
H. T. Woodman.

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1. Row thy boat light-ly, love, o-verthe sea; Twilight is fall- ing, FU has- ten with thee,

2. Brave is the heart of the fish -er-man*s bride, Tho* the wind fretteth the wave in its pride ;

3. How the bark dashes from mountain to vale, Toss'd like a feather, the sport of the gale !
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thy horn

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Now

the blue wa-ters now sparkling with foam, Ev - er-more, dearest, to dwell in thy home,
tho' the storm hath encompassed the sea. Clasping her treasure, oh, what car - eth she ?
it is riv-eni to-geth-er they go To the still depths of the [*cav-emsbe-Iow!]

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Row thy boat lightly, love, ov - er the sea; Dai-ly and nightly I'll wander with thee,.

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On its clear bosom con- tent-ed we'll roam, £v - er-more, dearest, to dwell in thy home.

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* Siog the small notes to diese two words.

It is of the highest importance to properly educate
the ear. Try to recognize the different notes given by
a bell, a glass, a bird, etc. Scales and exercises may be
frequently practiced, but are not sufficient There are
many people who are possessed with the idea that by
this means they may attain to a supreme degree of
perfection, and who, long after youth has fied, keep
on devoting several hours a day to exercises which are
purely mechanical. It it just the same as trying to
pronounce ABC every day faster and faster. Make
a-better use of your time. A noiseless key-board has
been invented by some one; give it a trial, so that
ypu may satisfy yourself as to its utter worthlessness.
I>amb people cannot teach us to speak. — Schumann,

The home that has been made the sunny side of life
never loses its beneficent influence over those it has
sheltered in childhood, however they may be jostled by
the rude vicissitudes of life. One of the most memor-
able reminiscences of California is told of the first great
queen of song who appeared in San Francisco, among
the restless men gathered there in the early days. They
had learned not to value life ; they had become a law
unto themselves that defied all the teachings of their
youth ; but when ** Home, Sweet Home " was sung
tears scalded the bronzed faces, and sobs welled up
from hearts which had left sentiment behind for adven-
ture. Take the sunny side of home. It will be a well-
spring of joy from the cradle to the tomb — Mc C/ure,

FSANKLIN SQUARE SONG COLLECTION.

*i

HOME OF MY CHILDHOOD.

m JMi J .^ 1 J. jfexij; F4^

J. K. MiTCHBLL.

I ^ Fine.

<ujw

^

Oh ! home of my childhood, still welcome to me The dreams of thy wild- wood afar o'er the sea.

y \f\^ Ym P\f \^ u iW '^ (^ i\ U\ \\\

r^^^

I I -^

^J i pPpiJ jj i pNpp i fi.>L|3 j,; I JJ,gDld::^

1 . Tho' far from thee roving o'efjland and o'er sea,There's nothing worth loving that looks not like thee ; The

2. When bright halls are glowing, and music is there. And wit round is flashing, bright, sparkling and rare, A -

3. I gaze on sweet places, but where is the charm ? I look on bright faces, but oh, not so warm As the

maz-es of fashion, the tempt - ings of fame. The storm-bursts of passion, still leave me the same.
way, far in feeling, to wood - land and rill. My fan - cy is steal - ing to hear the old mill,
loved ones of childhood, the smiles of my home. Still sweeter, dear wildwood, the far-ther I roam!

t\\ Fpff i pF^ i g^FC p^

^ss

i

^

^

:U±*:

n

GAILY OUR BOAT GLIDES.

U AlUeretio. I I I 1 '^ I

Allegretto. I I

1. Gai - ly our boat glides o'er the sea. And light the oar we ply ; Mer-ri ~ ly ring our songs so free. As

2. Here on the bil-low as we go, A - way from care and strife. Health is in store for us, we know, Oh !

3. Bend to the oar, nor fear the storm. Away, a- way we glide ; Mer-ri - ly sing, nor sit for - lorn, As

sea -birds round us fly.
who would flee this life!
glides the homeward tide.

fly. ) -

life! V Tra la la la, tra la la la, tra la la la la la.
ide. j ^ ^

«=S

1 (ROUND.)

^^

^

^&>Pg ^

5t=ii

:^

Sing it o - ver with your migtit; Never leaVe it, Never leave it till 'tis right

34

FRANKLIN SQUARE SONG COLLECTION.

THOU ART SO NEAR, AND YET SO FAR.

Moderate. , i i. N

A. Rbichardt.

1. I know an eye, so soft- ly bright, That glistens like

2. That eye so soft as vio- lets blue, A treasure bears
I. Ich kenn' ein Aug,' das so mild, Und glilnzend wie

3. Dies Aug' istsiiss und veil-cheu-blau Drin spiegelt sich

a star at night ; My soul it
of morning dew; And when its
ein Stemen-bild, VoUHuldauf
der Thrflnen-thau Und wenn ich

draws with glances kind, To heav'n's blue vault, and there I find

light entranc'd I see, Whatjoy, what pain pos-sess-es me!

roich, her-nie-der sieht, Und mich hin - auf zum Himmel zieht,

die - sesAu-ge seh' Er-fUlltmich Lust er-fUUtmichWeh'

i

■Jit-

An - oth - er •
A world where
Dortprangtein
Ver - sen - ken

m^-^

g ^i7 h^ ^ip k >

i

Ff-nfr-jg-^fa ^

JFW=\

I* u u-

-U-k-tr

¥ V ¥

* r g

\i* V t^

i

hM

^^

i

rU.

-K-*^

^^ih^iM^

4

9

^

IV- q *i #t

I

star, as pure and clear, As that which mildly sparkles here. Be- lov- ed eye, be - lov - ed

I would gladly dwell, Is that bright orb I love so well. Be- lov- ed eye, be - lov - ed|

Stem, so hell und rein, Wieje-nes Au-ges Son-nen-schein. Du lie-bes Aug*, du lie-ber

mOcht' ich mich hin -ein Undje-nes Au-gesAp-fel sein. Du lie-bes Aug*, du lie-ber

star, Thou art so near, and yet so far! Be-lov-ed eye, be-lov-ed star, Thou art so
Stem,Du bistmir nah*, unddochso fern Du lie - bes Aug*, du lie -ber Stem, Du bist mir

^-m-m-

-**j

g;i? hJ-T^& £ | p ^& £

i^fe^^^^

^

u> u u

±=i

m

Piu animato.

=^^=^

^^

J:

^' ^wi'JJ!^

"^m

i9

=^r^

^

near,
nah',

and yet so ifar! 3. If closed at last that ra-diant eye should be, No

und doch so fern. 3. Dochschliesspteinmal die • ses Au ; ge sich, Dann

^

fc

f^ j. Ji^/y^

4. JJ. JrJ,J#

*r, m — -1-T — -: -d — s»--i — -h-

K ' K S

=n=i

;g s:di:J-^3^

more
wird

^

the day will dawn for me; If night should dim its laughing light. Oh, then for j^
es nie mehr Tag Air mich. When jener Stem mir nicht mehr lacht Dannist es

■f--f-\ -f ,-f -f -r -f- -f- -f- .-f' -r^A

- |#-^ i#

k' »

ir-r

fc=ff2

rii.

FRANKLIN SQUARE SONG COLLECTION.
a tempo.

*5

M'A\6^y.i\Wi^^^

n

^ — 5P-— — --cjr

ev - er 'twill be night! Those eyes that bright -ly soft • ly shine,
fUr mich Nacht Denn die- se bei - den Sterne hold

ev

e •

wig, e .^

For me the
Sind Monden

sun and moon
scheinundSoB

com - bine ! Be-lov- ed eye, be- lov-ed star, Thou art so near, and yet so
nen gold. Du lie-bes Aug*, du lie-ber Stem, Du bist mir nah', und doch so

^

1 1 — F-

i

^

. ra m

s. r rr

^

m

"2=^

=2=^

^

vw

^

u u u

U ^* lo

pp

RP=

pp

*^—K-

cres. coH mdio etpress.

Safe

i

l> » a d t

=i=rr^

r. Thou art so

=?=S^

1221

far!'
fern.

Be -lov-ed eye,
Du lie-bes Aug*,

^F?F

U U U

be -lov-ed star. Thou art so near, and yet
du lie-ber Stem, Du bist mir nah', und doch

far!
fern.

^f|i|-fi^-tg

■a ^ | » » jc

-jg-jy-tr

SLEEP, BABY DEAR.

Tenderly.

p=^ft^

:33IC:

»»/

J4 g^ j^„ ^

^^ • =■ Tauwitz.

dar - line slum - ber thou!

1. All is still and rest - ful now,

2. Soft - ly close each a - zure eye,

3. Thus while flowers like thee I greet.

So my dar - ling

Like twin May - buds let

Soft - ly kiss • ing eye

ber thou !
them lie,
lid^sweet,

On - ly sighs the wind a •

And when mom - ing shines a •
Why need moth - cr look with

w

m m m

*±=i=

near — Lul - la - by, sleep, ba - by dear,
new, They, like flowers, shall o
out. Though the Spring i^ all

pen too.
a - bout?

■=w=^

^^

» i» »■

-u-^g-

■>-i — r

:1^3=

r* y^i: \ x J J

!

■I 1

^

:S=r:

=E=t:

by dear,
pen too.
a - bout?

On

And
Why

ly sighs
when mom
need moth - er

the
ing

w.

f^

wind a - near — Lul - la • by, sleep, ba
shines a - new, They, like flowers, shsdl o
look with - out. Though the Spring is all

m

^

=1=

l » W

26

FRANKLIN SQUARE SONG COLLECTION

There is lodged in all created things — so far as we
know — a capacity for sound.' There is no substance
sd coarse and unyielding, except perhaps some clays,
but has its note which may be brought out under con-
ditions either of concussion or tension. Strike any
solid thing, and in addition to the noise caused by
the vibrating air you will hear a certain note or key
that belongs to the thing itself; or stretch any tensi-
Ue thing and it will give out a note peculiar to itself
when it is sufficiendy touched. We do not hear
gases when they are gently moved, nor a bubble
when it bursts, but only because our ears are dull to
their fineness. The pipes in the organ have had no
capacity given them, but simply yield up what their
original substances contained. Once they were solid
woods, gross tin or lead hidden in the heart of the
earth, but even there they had this capacity for sound,

and their note and quality, as they had color and
chemical affinity. Man has only developed what
was within them. By arranging their shape and size
and passing a current of air through them, we obtain
a sound which the ear pronounces a musical note.
And so we speak of a brassy sound — ^referring it not
to a law of vibration nor to the shape of the instru-
ment, but to its substance. Not only a certain kind
of wood is required by the violinist, but only a cer-
tain quality of that wood will give him the qualit)- of
sound he desires. Some substances give forth their
notes without re-arrangement by simple concussion,
or friction, or tension. Water falling from various
heights, and reeds of different lengtlS swept by the
wind, and branches of trees bending under the storm,
utter their notes, sometimes forming almost harmony.
And so we may consider- the earth as a harp strung

THE FEAST OF ROSES.

^^IjV^^tH-^ ^

Thomas Moore.

-t^-h-v

n- ^

S=SP

1. Now sunlight dies, and o - ver The val- ley reigns de - light, And hap-py is the

2. No sound is heard but pleasure, No ech-o on the gale, But mu-sic's varied

3. 'Tis said the world a - bove us Is one con -tin- ued now Of joy with those who

tiK^aT i *f gfi^ y

r If r

^ — 3 ta^ — 10 — F — F-

IE

pzi^

JtZl^

*cibc:

» l n >

y^^/^J l J j.;; ! ^ ^^

^^

lov - er That wan-ders there to- night; For ev* - ry heart un - clo - ses, And
measure A- long that hap - py vale; For all that sense can cov - et. Each
love us; Per -haps it may be so; But if this earth dis - clos - es De •

love us; Per -haps it may be so; But if this earth dis - clos - es

nP \ 0;\i^i^\'i"i'^ \ Uii \i

old and young a - rise. To hail the feast of ro - ses And bless it as it flies.

i"oy that earth can show, Is lavished there to prove it. The brightest spot be - lo\ir.
ights unknown else- where, 'Tis at the feast of ro-ses With - in thy vale, Cashmere.

[ r r [ rrr^rr fn't[[r

with innumerable strings, silent yet, but full of tuneful
sounds and needing only the skill of man to bring
tl;em out. This universal capacity for sound or tone
is- not a bare and unrelated thing, but is connected
\i4th a law of music which has its seat first in the air
and then in the mind of man. We find in the air
the musical scale or octave consisting of eight notes
formed by quicker or slower vibrations, and so hav-
ing a mathematical basis. All we can say of this
law is that it is a law — ^^'hy and how we cannot tell.
Corresponding to this law of the air is a law of hear-
ing within us, so that the musical sense with which
we are endowed accords with the musical law of
vibration. Thus the scale or octave has two appar-
ent sources or foundations— one in the air, the other
in man. The octave does not more truly exist in
the mathematical vibration of air than in the mind.

We speak vaguely if we say that man has a capacity
for hearing the octave in the air ; the law of the oc-
tave, with its mathematical exactness, is wrought into
his nature as thoroughly as it is wrought into the ex-
ternal world. The wonderful thing here is not the
adaptation of nature to man, but the absolute iden-
tity of the law in nature and the law in man; for if
w^ only silently think the octave, we think it as un-
der the .same mathematical law as when we hear it
in actual vibration. We behold here a manifestation
of God that goes far beyond that of a skillful de-
signer — forcing on us the thought that God is in the
laws themselves. And so, at once, we leap to the
grand conclusion that it is because God is so im-
mersed, as it were, in these laws that we can use them
for His praise beyond any others revealed to us. The
subject is full of suggestion at this ^ioX^^^Munger,

FRANKLIN SQUARE SONG COLLECTION.

2^

FRIENDS THAT WE NEVER FORGET.

MoiUraic.

AucB Hawthorns.
Sbp. Winnbs, by per.

1. There are friends that we nev - er for- get. There are hearts that we cv - er hold

2. There are friends that we nev - er for - get, Tho* the seas may di - vide us lor

iw»r«f-

^T ji i jriT

r f f I p'TT'^'

$

^»i^ \ ^ii\i'M\^*WU\i^i \

*=t^

■(=»

dear;
years

Tho* we meet with a kiss in a moment of bliss, Yet we part with a sigh and a
Yet w« lin-ger a -part with a sor- rowing heart, In an absence that on -ly en-

^m

^

■M0-

m

r- f-f

^

^

^

ȣ^

Ky

4^^J:JiJ J J ^ ^■■i \ i l'. \ ** ^'»]» J ^^

tear. Oh, we learn our first les - son of love, At the home where our childhood is

dears. There are friends that we never for - get, There are hearts that we ev - er hold

^ roll. Umpc.

I , l _ I I

i^iimiU^^-Uij

a^3=^s^

^

passed. And we nev-er for-get tho' we part wjthre-gret, The friends of our youth till the
dear, Tho* we find but a few who are earn - est and true. Oh, how sweet 'tis to know them so

;i^

vrWlrrr

^m

u

s

p

£2r

t— r

* \ There are friends, there are friends that we never forget: There are hearts that we eve
near, j "

^

\ L \f ] ^ \\ iun \ X'rwm*t

I

P

^#^J]^ j j i jP'girp j i J /jijjj i jj^ p

dear, Tho' we meet with a kiss, in a moment of bliss. Yet we part with a sigh and a tear.

|i iiiTirrirnT 'rrirrii''rii^'iii

28

FRANKLIN SQUARS SONG COLLECTION,

THIS IS MY DREAM.

Modtrato.

Milton Welumgs.
Mary Mark-Lbuon.

ijiii mm

m

SB

^^

*»V^ i '-^

1. Some -times I dream that days of old are float - ing Far from the ha - ven

2. Some - times I seem to hear up - on the si - lence Words that you spoke when

^

i

^

^

^^

^

f

^f^^

^^m

a tempo.

W=fi

k h >

^

w

\ my threshold

IWi5=

f i f I

topH^-p^

SF^

where we bade them rest. And in the twi • light wait beside my threshold That in life's evening
love so old was new. That tell my heart your path is cast in shad-ow. And life has proved un-

i g , m — O ^ . ^ :

l[[ly \ ^r.V\'i \ [liif -nZim

^

fc

1*/ yerse.

^

k fc > f^

j ^^^^'i ^ dUU^^

^

m

shines serene and blest ; Each golden hope on wings upraised to Heav'n, Each answered pray*r made
faith - ful and un-tnie.

u^my \ ff-tf'[ \ [i:z\^ \ }ZZJ^

^'' Uj:JJlJa'';J,J^JjV ,J l J 1

s^?#

*32I

good and true by pain ; All brok - en faith relinked

by one glad

word — Such is my dream,

bi. »g e e ? C4

Egr i fSb

g:

:*=*

?

I U U

^^

I h h

'j[ ^^ i

aecel con p€usicH4.
sich is my dream, Such is my dream — ah! do I dream in vain? Then in the dark -ness

M:i,V'!*1* fs If -r r-f-T

tr^:i[[ i rEn i rf ^

g^H>-L^g-J ^

kfi^'" J' J "3 J J J I;

M m

^m

:tE=jE

-^•-■U^

tum'your hands to- ward me, Now firom the shad - ow turn to light a - gain, —

FRANKLIN SQUARE SONG COLLECTION,

29

f>Kd=;'lJji/./d l J j ;! JljV^

Love that is true shines brightest in the shade — ^Thb is my dream, This is my dream,

H'rfFr'[ i EbE£n:r:p i FEErr

m

^ N

^

=J*=H

4*^

^=h::

^^

JUm^^

f

This is my dream — ahldo I dream in vain? This is my dream — ahidol dream in vain?

W ^\> f_ ^

i[[[y^''iiuiir:iT-iii

^

±*c

DANCE ON FOREVER.

Hamilton Aiok.

r^iUiU jij7UiUjj''^''''' i *'i'

1. That old waltz by the lin - den trees Is waft- ed on the eve -ning breeze, How

2. The dan - cers 'neath the lin - den trees Are sev - er'd now by land and seas, How

m r ^ y ^ pip p i p F I F F I f r ' ^^ ' ^ ^

rjj i jj i i4

Fhu.

; i jaiijj ii w^

ma - ny mem - o - ries it brings Of long de - part - ed things. I see the

lit - tie of the past re - mains £x - cept those joy - ous strains. Light-hearted

W\^ rff^ f i r a' l p p i p pip ^ i f;: i ri ^^

If-H J i J i\i J i fJ J i j jij j-g-gi;^ ^

dler stand A - mong the mer - ry, laugh - ing band, I watch them dance — ^bc
gay spring, Like birds from branch to branch tluit sing, Life seemed to them a

blind old fid -
then in youth*s

4SL

m,

^

p=^

H g t \ V r \^ F i r C l g-fi-

^

t

D.C.

fore mine eyes The joy - ous groups of youth a - rise,
dance, a song, To which no mi - nor could be - long.

calando.

Oh
Oh

^^ V f

■^•7ra

^x | |tg-j|g;||g | p n

i ^l i

-t— 1-f

30

FRANKLIN SQUARE SONG COLLECTION.

TRUE LOVE IS SWEET.

Moderato. j^

Wm. M. Hutchzmson.

fekji- ' -"i ' .0ij. IJJI

1. The red light falls on cas - tie walls, On ram- part, moat, and gate, And on a knight,

2. The knight is gone, the set -ting sun Has fad -ed in the west; The ev-*ning stars

m
shines

hj i rrFF i fFrrir^l . ^U[ i r[rri

I i 3 j ji j JiVJJ■v^ jjj'j i\i jiiW.'^

ar-morbright,whomaynolon-eer wait; He will not turn his head around To see the maid a
out a -far, the star he loved 3ie best. The maiden views her drea-ry room, Her heart is sad and

fe^&Lr rir-l*

l^^l\\^ iW ^'\^'^^

SZ

^ j : «^J ^jJj^jJ^JJj 'qjg^ *W l ^ J'.j ;li igi

bove. Who weeps and sighs, with mournful eyes. To view hel* parting love. "True love is sweet, al >
lone, For she is left, of all be- reft. His ver-y shield is gone. "True love is sweet, al -

W

"Elj g

HFfirgMfifFFf i ^- ^^

fnti ^ ^^u^^ m

ZL

PP

S^[^:3

:ss=*

tho"lis'giv*n in vain, Oh, love, we*llmeetwhen death ^las end- ed pain; True love is

^^-ifTB i FlTf i ^i^H^lf^

g

P

sweet, and yet I know not why. But life seems oft so bit- ter, 'twere bet-ter far to die,"

f^f -r.-rr

,-r-T*"^^

T-T^r^-r

^tfcl

i

^^

:t=k

i

PP Andante.

^^El

M.J^J ^ \ i~^^^iTiW^

f f f

hifl^#-

3. When sun- rise came, and dawning day. Within her barge the maiden lay. So calm and still and

r'ri . ^:r r ^ip i i> ^

rfffih^^^

FRANKLIN SQUARR SONG COLLECTION.

Si

i)j,jj \ m

^i;J\i»i:iU^i$

:m=^

¥^r*^

m

fair. They rowed her up the si-lent stream, A smile, as in a hap-py dream, Upon her dead face tliere

te=it.

^m

fea

I I \

*=WIN

^

1?:^

^

"^

g k )■

mrgi

1— r^

Moderaio,

PP

Urato, 'ZZ p

N *^^

True love is sweet, al - tho' 'tis giv'n in vain. True Jove is sweet. When death has ended pain,

^'"ffgifff i fFfs i rgHffiif^-F i ^e^rgij i

-=;-a

f fT h ad lib. m^

^

Live on, true love. While life and time go by, Live on, for -ev - er. True lo\'e can rev - er die !

^ , rrrr

A^

WORDS VAIN WORDS.

. ^ i» -msz > ^WW/tf es/ressiffne.

Russell Gray.
Virginia Gabriel.

-^ K Tir =g

^

-it*

1. Words — vain words, Echoes of what the heart would say, Faint, frail things,

2. Thoughts — strange thoughts, Echoes of what the soul may love. Great, true things,

Sjl ^

^

m

E fcfc f

=*hF

»-

^

M r ri -tra
"3.11 * ^ i > J

fe^

i

^^^s

^5*

That a breath can bear a - way ;
Found in the realms above.

Oh ! for a moment's
Oh ! for a moment's

m-*iiit \ :

# — 1> 'jS- larji:

t

^ I

time, one

time, one

gold - en
per - feet

4i2 -«—

-r-e-

1 — k-k-tg-l g=

i

ft^

=*=if

dim.

t answer heart, As we meet face to face,
rush to soul. As we meet face to face.

yff ■'ttji

^^

^

r

space. When heart might answer heart, might answer heart, As
space, When soul might rush to soul, might rush to soul. As

ak^-jp-C:^^^^ ^^

■v-*^

we meet face
we meet face

•^^ ( • ■a

C'gr :'i

^m

32

Ff^ANKUir SQUARE SONG COLLECTION,

If a' revision of the code of studies should be made,
then will come the question of selecting from those
'already in use, the most valuable as a mental, moral,
and physical training during school life ; for it must
be admitted that the training given in the school has
a very great influence on the future life of the young
man and woman. There is, however, in the studies
pursued regularly, a lack of moral training — a fact
that must be apparent to every thoughtful student of
the public school system — ^and that is brought too

frequently to our notice by the misdeeds of young
men trained in our schools who occupy responsible
positions. Unless the moral faculty of the mind is
strengthened in the same ratio as are the other facul-
ties, it becomes unbalanced, and does not have the
disposition to distinguish clearly between right and
wrong. Too many of our pi4>iJs are predisposed to-
ward evil, and in giving them mental power without
any restraining moral education, they too often use
that power for evil instead of good. Now, music has

MARY MORRISON

Moderate.

Robert Burms.

f. Moaerato. , • i

1. Oh! Ma - ry, at thy win - dow be. It is the wished, the tryst - ed hour! Those

2. Yes - treen when to the trembling string The dance gaed thro' the light - ed ha*. To

3. Oh! Ma • ly, canst thou wreck his peace, Wha' for thy sake wad glad - ly dee? Or

Tr^

smiles and glan-ces let me see, That make the mi - ser*s treas - ure poor. How
thee, my fan - cy took its wing, — I sat, but neith - er heard nor saw : Tho*
canst thou break that heart of his, Whose on - ly fault is lov - ing thee ? If

blithe

this

love

6 ^VH>^H>-^

ly wad I bide the stoure, A wea - ry slave frae
was fair, and that was braw ; And yon the toast of
for love thou wilt nae gie. At least be pi - ty

sun to sun, Could

a* the town; I

to me shown ; A

*=t

:^=P=

^

r

P

Ifc ft a

^^

3-; a iSj2

SttF^^

I the rich re
sigh'd, and said a •
thought un - gen - tie

m

gen - tie

ward se - cure. The love -
mang them a', "Ye are
can • na be, The thought

^t

ly Ma
na' Ma
o' Ma

ry Mor - ri - son.
ry Mor - ri - son."
ry Mor - ri - son.

?^

N »

fc

ir-f-r-

a powerful influence on the moral nature ; it is a pleas-
ant study, and as such will enforce and fix a thought
in the mind almost unconsciously, when the strongest
argument would fail to make a lasting impression.
The question of time is an element that enters largely
into the question of the adoption or rejection of a study,
and here music has a great advantage, for the practice
in music is a restful exercise, and pupils, after a short
period of song, will be brighter, fresher, and more re-
ceptive, will be able to more than make up any time
that is judiciously applied to music. — PV. S. Tilden,

Music has in all ages been a source of the purest
delight. In the present age its cultivation forms one
of the most general and most refined sources of
gratification and pleasure. All classes of people are
now privileged to join in -its delightful enjoyments.
Lowly homes are now often elevated by the elegant
practice of music, through the increased facilities
for producing instruments at a cheap rate. Hence
there is a more general study and a finer perception
of what is good and beautiful, and this is doing much
for the cultivation and the refinement of our people.

FRANKLIN SQUARM SONG COLLECTION.

WE'LL GO TO THE MOUNTAINS.

AltegreiU con spirito.

.33

_ ««T^iH x_ 4.1 A^i UIl • •_ t:* If^ 4.t_ _! !>^^ ^ -1 _ <• » « mi

1. We'll go to the mountains while morning is gray, For life on their summits Ts cheerful and gay, There

2. There Freedom's bold music is heard in the gale ; There leaps the bright torrent in foam to the vale. Then

mWif.mmf gt i f f ff ff ifff

0-4^

ft\iiU \ ll \ :\i^ \^i^^iU

na - ture, in beau-ty, a- wakes in her prime, And gladness al-lures us, as upward we climb,
hail to the mountains! their echoes shall ling, Re - peat-ing the chor-us we joy-ous-ly sing.

RHYME OF THE RAIL.

i 1^ A 1^ 1^ John G. Saxb.

y" ii Jffl l J,ilj;j jl jjM.rr^riJ,jjJJ-jjiiii

1 . Singing thro' the forests, Rattling o- ver ridges ; Shooting un- der arches. Rumbling over bridges ;

2. Men of different " stations " In the eye of fame, Here are ver - y quickly Coming to the same ;

3. Gentlemen in shorts, Looming ver- y tall; Gen- tie- men at large, Talking ver-y small;

4. Market-woman, careful Of the precious casket, Knowing eggs are ^;gs, Tightly holds her basket ;

l" M |=L= FF lFfl|'Lff'l' 1^'i^^^'rfffF

s

f

j^jjlJ.J.| ,J{l"flJ^^i l -l l ;S.f|jj i p.Nr i

Whizzing thro' the mountains, Buzzing o'er the vale, — Bless me ! this Is pleasant. Riding on a rail !
High and lowly people, Birds of ev-'ry feather. On a common lev- el. Traveling to-gether.
Gentlemen in tights. With a loose-ish mein ; Gentlemen in gray. Looking rather green.
Feeling that a smash. If it came, would surely Send her eggs to pot Rather prema- turely.

l\'h'iifTi i r^'i'ii i" uTiiTi^irrjii

V— 3

34,

FRANKLIN SQUARE SONG COLLECTION.

The power of genius over matter, the responsiveness
of metal, and tube, and string to the inmost emotion of
the artist as well as to the coarser pressure of his hand,
which we recognize with rare enjoyment in the organ,
is only one branch of the greater law that all which we
are publishes itself, that our secret quality tends to pro-
claim itself as from the housetop. As we axe seen from
Uie spiritual world, our latent quality, whether good or
evil, IS seen impressed on our conduct, breathes out up-

on the whole sphere that surrounds us. We play off
our hidden music, whether vile or holy, upon the world.
And this sensitive echo of the organ to tne soul of the
performer, is only one variation of the mighty truth
that undertones the government of God, wluch it be-
hooves us to meditate, and to apply to our states \-^
*^ There is nothing secret which shall not be made
manifest, neither anything hid which diall not be
known and come abroad.''— ^^. Thos. Starr King.

JENNY LIND'S BIRD SONG.

Swedish.

1 . Birdling, why sing in the forest wide? Say, why ? Say.why ? Call'st thou the bridegroom or the bride? And

2. Bird - Ung, why in thy heart so blest ? Oh, say ! Oh, say ! Music overflowing from thy breast ? Oh,
^ Doan-y lis- ten to your lay? Oh,

3. Bird - ling, why sing you all the day ? Oh, tell ! Oh, tell !

^

Say, why? Say, why?

Oh, say I Oh, say I

Oh, tell I ^ Oh, tell!

a-

i^\li^'r \ iiMi i^ \ ikiAh

why?

say! Oh, say!

tell! Oh, tell!

And why ? <* I call no bridegroom, call no bride. Although I sing in forest wide»

" My heart is full, and yet is light ; My heart is glad in day or night,
" I care not what my song may be ; Now this, now that, I warble free.

:^, K^^Mf i i ^'^^'f^i^w^i^cr i

^

And why ?
Oh, say!
Oh, tell!

And why ?
Oh, say!
Oh, tell!

yp ■■ r ; 1 ^-^ ip C • ' • ' ^ '•i ' T T T " "r T f '

Nor know. Nor know. Nor know why I am sing-ing! La La......

Nor know. Nor know. Nor know why I am sing - ing.** La, La,« . . .

Nor know. Nor know, Nor know, yet must be sing - ing." La, La......

!^or know.
Nor know,
Norknow,

la la la la la la la la la la la

la la

kilala, la, Norknowwhy I am singing,

tt^^V^

■ ^4»

la la

FRANKLIN SQUARE SONG COLLECTION

35

The sound port of the violin is a veiy important
item in fitting an instrmnent There is a marvellous
power in this simple contrivance. It should fit as
though it were a part of the back and belly. An
instrument can frequently be cured of a bad charac-
ter of tone by the slightest moving of the post Those
subject to what are termed wolfy notes can be remedied
or the bad notes shifted to less im^Mrtant ones. It is
a mistake to suppose there is a particular place for the

sound post in all instruments alike. It depends upon
the model of the instrument to a great extent High
models require the post nearer the foot of the bridge
than flat models. Others require the post thick or
thin. The regulating of the post shoula only be en-
trusted to the skilled hand, and we would impress
upon amateurs that it is better never to shift the post
themselves. Many good instruments have been much
injured by unskilful tampering with the post — Fearce*

OH; ARE YE SLEEPIN', MAGGIE?

MotUraio, with accent.

ROBBKT TaMNAHILL.

f'ij J^- I s^^'.j'i: l.l^^l.l^.i.i,lj^.j..ll

Oh, are ye sleepm\ Maggie? Oh, are ye sleepm', Maggie? Let me in, for

Oh, are ye sleepm*, Maggie? Oh, are ye sleepm', Maggie? Let me in,

r^'>^ r f F I ? f ' ^

-r-r-r-'

n-^t e i-i

^,>Jj.J,/U'.gJ:J j ^ > j j . l Jj^. . U; -i^

loud 5ie linn^ Is roar • in' o'er the warlock craigie.^ Mirk and rain • y is the night, And

loud the linn Is roar • in' o'er the warlock craigie. Fear -fu' soughs the boor-tree bank. The

loud the linn Is roar - in' o'er the warlock craigie. Aboon^ my breath I daur-na speak. For

loud the linn Is roar - in' o'er the warlock craigie? She oped the door, she let him in; He

no a stam* in a' the carrie,^ Lightnings gleam athwart the lift,^ And winds drive on wi'
rift- ed wood roars wild and drearie; Loud the i - ron yett^ does daxik, And cry o' how-lets*
fear I rouse your waukrif^daddie; Cauld's the blast up - on my cheek, Rise, O rise, my
cast a - side his dreep - in' plaidie ; Blaw your warst, ye rain and win' , ^ce, Maggie, now I'm

Ckonu.

win - ter's fu - ry.
makes me eer-ie.?
bon - nie led-die.
in a • side ye.

Oh, are ye sleepm', Maggie? Oh, are ye sleepm', Mag-gie?

Oh, are ye sleepin', Maggie? Ob, are ye sleepin', Mag-gie?

Oh, are ye sleepin', Maggie? Oh, are ye sleepin', Mag-gie?

Now, since ye're wakin', Maggie ! Now, since ye're wakin', Mag - gie I

Jjet me in, for loud the linn Is roar - in' o'er the war - lock craig-ie.

I^ me in, for loud the linn Is roar - in' o'er the war - lock craig-ie.
(4) What care I for how -let's cry. For boor-tree ^ Obank or war - lock craig-ie!

K; g E'glf Ffj l E = ?g-?irg|

-p 1^ h^ » "- ^ "^ b^ ^— *-*^ " "^ — -^

By permission S. Bnliuund's Sons, owners of copyright.
^Water&n. *wiianl crag. 'star. ^sky. ^gate. ^owls. ^frightened." ^above. ^wakeful. ^ ^elder-tree.

36

FRANKLIN SQUARE SONG COLLECTION.

Ah, friend, give me the old songs — those exquisite
bursts of melo^ which thrilled the lyres of the inspired
poets and minstreb of long*ago. Every note has borne
on the air a tale of joy and rapture, — of sorrow and sad-
ness I They tell of days gone by, and time hath given
to them a voice which speaks to us of those who once
Ixeeithed these melodies, — of what they now are, and
what we soon shall be. My heart loves those melo-
dies ; may they be mine to hear till life shall end, and,
as I launch my boat upon the sea of Eternity, may

their echoes be wafted to my ear, to cheer me on mf
passage finm the scenes of esjth and earth-land I Gtfe
me the old paths, where we have wandered and ciQled
the flowers of love and friendship^ in the days of Auld
Lang Syne ; sweeter far the dells whose echoes have
answered to our voices, whose turf is not a stranger to
our footsteps, and whose rills have in cluldhood's days
reflected back our forms, and those of our merry play-
fellows, from whom we have been parted, to meet no
more in the old nooks we have loved so w'ell. May

THE STRAWBERRY GIRL.

Arthur SuLLtvAM.

I. The sun was clear on the o - pen lea. The sum - mer breeze had

I. The sun was clear on the o

S. The straw-ber-ry girl a - way

3. Oh! wealth can • not_ the light

pen lea. The sum - mer breeze had
is gone. Her ber - ries in the
im - port That spar - kles in that

Hs;

\P\VlP'^^^\ \ \ \ \ \\ \

ceased to play, "The strawberry girl came near the tree, To rest her on her

ceased to play. The strawberry girl came

streets to cry. And chil • dren gath - er

beam • ing eye, The feel - ings of that

near the tree, To rest her on her
at the sound Of "Buy my strawberries,
hope - fill heart. As thro' the town is

<m

\'.\\PviP\ l F^FFF l f l =^rE l

J.i^^j^ | j'^^^jj^l^^ rp't'^ i J' 'N/ji

lone - ly way; The gip
la - dies, buy; Buy

heard her cry. Buy

sy hat its shad • ow flung O'er eyes that beamed with

my strawberries, buy my strawberries, Buy my straw-berries,

my strawberries, buy my strawberries. Buy my straw-berries.

W^

p:grV i |"l'KL

*±=fc

^if'FFrE i

y"i:JVg ii J'JOjjiF'H'-^'^ i '^"^OjiJ^ir ^

hope and joy, The while a sim-ple lay she sung, Of home and friends now far a -way.

fresh to-day. Buy my strawberries, buy my strawberries. Buy my strawberries, fresh to-day."

fresh to-day. Buy my strawberries, buy my strawberries. Buy my strawberries, come and buy.

krrp^i i f^fftf i r'TrBE i ftfi^ i fp

the old paths be watered with heaven's own dew, and
be green forever in our memory ! Give me the old
house upon whose stairs we seem to hear light footsteps,
and under whose porch a merry laugh seems to mingle
with the winds that whistle through old trees, beneath
whose branches lie the graves of those who once trod
the halls and made the chambers ring with glee. And
above all, give me the old friends,---hearts bound to
mine in life's sunniest hours i^ith a link so strong that
all the storms of earth might not break it asun<kr, —

spirits congenial, whose hearts in life have throbbed in
unison with our own I And when death shall still this
heart, I would not ask for aught more sacred to hallow
my dust than the tear of an old friend. May my funeral
dirge be chanted l^ the old friends I love so fondly, who
have not yet passed away to the spirit's bright home t

Such is the sociableness of music, that it readily
conforms itself to all companies, both in mirth and
mourning; complying to improve that passion with
which it finds the auditors most afiected^— /^MiSKfr.

FRANKLIN SQUARE SONG COLLECTION.

COCK ROBIN AND JENNY WREN.

37

Little Ones.

i^^^iU \ iii \ Ui6iu \ ^ii

1. 'Twas on a mcr-ry tune,

2. "My dear -est Ten-ny Wren,

3. Jen- ny blushed behind her fan,

4. Rob-in Redbreast got up early,

When Jen- ny Wren was young. So neat-ly as she
If you will but be mine, You shall dine on cher - ry
And thus declared her mind," To-mor- row let it be.
All at the break of day, He flew to Jenny Wren's

H'i JVii'iJ-Jj JJi'N'.N^-r.:r.^'

danced And sweet -ly as she

pie, And drink nice cur - rant

Rob, I'll take your of - fer

house, And sang a roun • de

sung. Rob - in Redbreast lost his heart; He

wine; I'll dress you like a gold -finch, Or

kind; C3ier-ry pie is ve - ry good, And

- lay; He sang of Rob - in Red - breast, And

p yir-rf'ij' i f pf firMi

r'^'^^J i ^v i ^.^jLj.r.r i jj'ij

was a gal-lant bird, He doffed his cap to Jen -ny Wren, Request -ing to be heard,

like a pea -cock gay. So if you'll have me, Jen - ny dear, Let us ap- point the day."

so is cur - rant wine. But I will wear my plain brown gown And never dress too fine."

pret - ty Jen - ny Wren, And when he came un - to the end, He then be - gan a - gain.

^^

Ffi^-ii:^rg£ i ggU i ff-EFi^' iii

WIDE-WIDE-WENNE.

German.

m:,^H \ ^^i \ U i \ iy \ n^ \ l^

1. Wi - de - wi - de - wen - ne, I call Hen-ny - pen - ny, Scratch and Pick call I my chick,
1 . Wi - de - wi - de - wen - ne, heisst mei - ne Putt - hen - ne, Kann-nicht-ruhn heisst mein Huhn,

t\^. !J > ;

\%\ \ lll \ \ \\\ r.l < {i \ m \,\

Jv; i J JJ; u j;jiJjj i ^ j-/jj;j:

Madam Quack call I my dnck, Wi - de
En - te-quent heisst, meine Ent' , Wi

wi-de - wen-ne, I
de - wi - de - wen-ne heisst mei -ne Putt

call Hen-ny - pen-ny.
hen-ne.

\ \\\l\fn^r \ l\\ i ll\\ V\^\ H

Never-lag call I my nag,
Mooley-moo call I my cow.
Ehren-werth heisst mein Pferd,
Gute Muh heisst meine Kuh.

Weatherman call I my hen. Spit and Spat call I my cat.

Jumping frog call I my dog. Sleeping log call I my hog.

Wettemann heisst mein Hahn, Sammetmatz heisst meine Katz*
Kunterbunt heisst mei n Hund ! Schmortdpflein heisst mein Schweln.
Sing b^inning and end as above for each vene.

38

FRANKLIN SQUARE SONG COLLECTION.

<'Thou shalt not take the name of the Lord thy
^God in vain : for the Lord will not hold him guiltless
Vliat taketh his name in vain : " Third conunandment
bf the decalc^e, given to Moses— as is believed alike
by the Jewish race and the Christian world — ^by Jeho-
vah himself at Mount Sinai, under drcuAistances of
supernatural and most awe-inspiring grandeur. *<And
it came to pass on the third day in the morning, that
there were thunders and lightninf^, and a thick cloud
upon the mount, and the voice of the trumpet exceeding
loud, so that all the people that were in the camp
trembled. And Moses brought forth the p>eople out
bf the camp to meet with God; and they stood at the
nether part of the mount. And Mount Sinai was al-
together on a smoke, because the Lord descended
upon it in fire; and the smoke thereof ascended as
the smoke of a furnace, and the whole mountain

quaked greatly. And when the voice of the trumpet
[supematttralj sounded long and waxed louder and
louder, Moses spake, and God answered him by a
voice. And the Lord said unto Moses, Come up to me
into the mount, and be there: and I will give thee
tables of stone and a law, and commandments which I
have written, that thou mayest teach them. And Moses
went up into the mount, and a cloud covered the
mount; and the sight of the glonr of the Lord was
like devouring fire at the top of the mount in the
eyes of the children of Israel . . . And he gave unto
Moses, when he had made an end of communing with
him upon Mount Sinai, two tables of testimony, tables
of stone, written with the finger of God" . . If the
crime of blasphemy, cursing, profanity (call it what
we may) be thus forbidden, with the only threat of
warning which the decalogue contains, '*for the Lord

HONOR HIS HOLY NAME.

flUdJi^^'-r i ' i i^ ^m

Child's Hymh.

: ^=:»- Child's \

Not ioofcut. ^

1. Hush! hush, my child, speak not that ho • ly Name With laughter light, not

2. Hush ! for His hosts are watch- ing o - ver thee ; His an- gels' wings thy

3. Hon - or His name, speak it wim reVrent care, In ho • ly hymns, breathe

n^^^x\V^}\\ r i fTr i rrr

^

i j J3ii4rij=jjij^jv i . i ;j jlj^i'-jij ^

in thy playful game ; For the great God hear- eth each word we say ; He will remember
shelter kind would be; Wilt thou with words rash and un-du-ti - ful Disperse those angel
it in earnest prayer, But not with cry in sud-den joy or pain ; He holds them guilty

^^^'\m<\^m¥r\\l \ n^\n

jfif^MU^ l ^

f ^

\^' '.i /^ ' r^^^ i ^ '

it in thegreat judgment day; He will re-mem-ber it in the great judgment day.

guards, so wondrous beau-ti - ful ; Disperse those angel guards so wondrous beauti • ful ?
all who take His name in vain ; He nolds them guilty all who take His name in vain«

tinmfUfi^\i-^mm f:^ \ ft

will not hold him guiltless" — then surely this offense
against " Our Father who art in Heaven," to whom
the reverent millions pray, and therefore against man's
own spiritual nature, must be one of fearful moment !
« . Shortly after the events above recorded a case of
blasphemy occurred in the camp, such as might be of
frequent daily occurrence in almost any civilized com-
munity of our own time. The offender was stoned
to death for an offense no more heinous then than now.
See the twenty-fourth chapter of Leviticus ; " And the
son of an Israelitish woman, whose father was an
Egyptian, went out among the children of Israel ; and
this son of the Israelitish woman and a man of Israel
strove together in the camp; and the Israelitish wo-
man's son blasphemed the name of the Lord; and
cursed; and they brought him unto Moses; and they

put him in ward, that the mind of the Lord might be
showed them. And the Lord spake unto Moses, say-
ing, 'Bring forth him that hath cursed without the
camp, and let all that heard him hiy their hands upon
his head, and let all the congregation stone him; and
thou shalt speak unto the children of Israel, saying.
Whosoever curseth his God shall bear his sin; and
he that >lasphemeth the name of the Lord shall surely
be put to death, and all the congregation shall cer-
tainly stone him : as well the stranger as he that is
bom in the land, when he blasphemeth the name of
the Lord he shall be put to death.' . . . And Moses
spake to the children of Israel, that they should bring
forth him that had cursed, out of the camp, and stone
him with stones; and the children of Israel did as the
Lord commanded Moses." Thus stands the record !

FRANKLIN SQUARE SONG COLLECTION

39

THE TEAR.

F. GUXBBST.

^ Andante.^ [DIE THRANE]. . ^ w w N 1^

1. With trembling step, in life we scarce ap- pear. Ere on the cheek is seen the glist*ning

2. How beauteous shines the fond tear of the bride. When he she loves is kneel- ing by her

3. Age creeps a • pace, tiie old man's end is near; Around him stand hisiriendsand kin-dred
X. Macht man in's Le - ben kaum den er- sten Schritt, bringt man als Kind schon ei - ne Thrft • ne

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-0-^

WJT-JVV

S£^

^

tear : First glad • ly springs the welcome tear of bliss. When child and moth • er share the len - der

tear ; First glad • ly springs the welcome tear*of bliss. When child and moth • er share the ^ten - cler
side ; Their hearts are one, the vow of truth is ta'en : To share till death each oth-er*s care and
dear; In ev* - ry eye thebit-ter tear-drop starts, The last sad proof of their torn lov-ing
mit, und Freu-den-thril - nen giebt als er • sten Gruss, dem Kind die Mut - ter mit dem er • sten

kiss. As years advance, 'mid chec^uer'd joys and woes. The heart expands, like some sweet opening
pain : ^ If o*er his soul hope lose its sogth - ing power, The faith-ful wife can cheer the lonesome
heartsf Serene - ly calm, as daylight's fad • ing beam. He sweetly smiles, as in some heav'nly
Kuss ; man w&chst empor dann zwischen Freud' und Schmerz, da zieht die Liebe in das jun -

^ A M A "^ "^ m • m m i

viiiimm n

^

m

jtj^j.j j^

Dsc^M

A 5 *

The gen - fle

rose; ine

hour; Con

dream; His

Herz, und

m

gen - tie girl, to him she holds most dear,

• fid - ing strll, Ae points to worlds more £ur,

part - ing gaze on all doth fond - ly dwell,

of - fen - bart <las Herz der Tung frau sich.

f H'l'firne M

i^ i: i i H i \ :ij} ^

^

trays with one soft, tim • id tear^ ller love be - trays with one
tear, sayskind-ly,^ Don't des- pair!" And with a tear, says kind
tear, he feint- ly breathes, « Farewell !" While, with a tear, he faint;
Thrft -ne: ja ich lie - be dich, spricht ei • ne Thrft - ne; ja

soft, tim
ly, « Don't
ly breathes,'
ich lie -

id tear,
des-pairl"
'Farewell!"
be dich.

Wie schdn ist doch die Thrftne einer Braut,
Wenn dem Gcliebten sie in's Auge schaut,
Man schlingt das Band, sie werden Weib und Mann,
Da eeht der Kampf mit Noth und Sorgen an.
Doch wenn der Mann die Hofthung schon verlor,
Blickt noch das Weib vertrauungs voU empor
Zur Stemen welt, zum heitren Himmelslicnt,
Und eine Thrftne spricht: verzage nicht, .
Ja eine Thrftne spncht : v^zage nicht

Der Mann wird Giets, die Scheidestunde schlftgt.

Da stehn um ihn die Seinen tief bewegt;

Und Aller Augen sieht man thrflnen-voll.

Die brineen sie als letzten LiebeszoU ;

Doch stiU ver-klftrt blickt noch umher der Greis,

In seiner Kinder, seiner Enkel Kreis,

Im letzten Kampf, ja selbst schon im Vergehn,

Spricht dne Thrflne noch, " Auf V^ederseh'n !"

Spricht cine Thrftne noch, - Auf Wiederseh'n !"

4d FRANKLIN SQUARE SONO COLLECTION.

THE SCOUT.

H. B. Farmib.
Fabio Campama.

$ \\ 'iii; jiJ: M^ J?Jj m<^ ^i; ^1J f:!

Come ! boor, your " Little blue."* I war not, friend, with you I *T was for this can a bold Uhlan* His

m

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§fttiifr.

I iLLLrrilLI'L

MMy^

1 — 9 — ' U U > I l^

' conirio.

kf,tfr ' -'H ^-J ?fjJlJ: J'ffi JV^Tft

*5=4:5*

J I JJJ*^

bri- die drew: Merely a pet-rel I, Telling the storm is nigh. , Clink we a glass, so

'"' FT'i^'- l gggf s i f'H^^^Hi gggj

i f,J.r^-r i T^- i J^Hjj j-j£.i^jj'j

=3=^

s

may it pass Your homestead by! Larking in brake by day, Reading by stars my way.

»qf=f^

fl^-^xjJJ

#4H

■S-s-

Sz:

iJ g t; .M^ii j.j ji, j :j,i'.'ij: jj :jiair. r; jii

Clattering fast thro' hamlet old, O'er lonely wold. Maidens pale at my glance. Peasants cow'r 'neath my

[rr [[ i p[:i:^ i f:p:i ^iW1f i -lrrffl-r i

^.iJg£^:NlJJj^ l J:^M,JH JJVJtt

lance. Mis- er - ly souls hide fast their gold From Uh - Ian bold ! Yet his the risk, not theirs.

ytiqi^i j jMjj'.[ J 1H- I 4^'r^,r,rji, r ^fi3i

Thousand and more to one, Lit-tle for odds he cares, Rather too many than none ! Ha ! ha ! ha I

trnXntuiif^ f. \ \'^}}}.U' \ fh

• " Petit blue "—Small country wine. * Uh-^M, light cavalry, of Tartar origin, armed with lance, pistol and sabre.

FRANKLIN SQUARE SONG COLLECTION,

41

^ f ^ <Mr/0 tUcuo.

$ 1J. I jlJ: >iJ jM5: f rj ^JJj jlj JJ^ . i JifM

Come, boor, your ** Little blue T' I war not, friend, with you. 'Twas for this can a bold Uhlan His bridle drew.

£p U|pii

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m

p

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i fJi4'j iii.. rH ^ k rj j i 4-i^W4i i ^^-ri^-l

Fltu.

■Sx^

Merely a petrel I, Telling the storm is nigh, Clink we a glass, so may it pass Your homestead by.

gicff i pr g^ i egcFs i pr j i cpf gf F f n p g

i/ i^ i^

> JJ, l j: j jlF'f ,^J:Mi^J;J JlJ'j J^^;^

Such a home I've left far a - way, Lov'dones there for me now are sighing.

fimfffif'fHf'^if^

w.

p

cs^

^^

I can see the moon's placid ray On roof and tree and pale face ly-ing I

k« -^ft-*

»c

j^

^

^^

H D*. y y-^

^=*^ r'r-MB> ^

[■ * [J^j ^~ l^EZK

^

I I u

P=Ci

ainnpo.

^ r^ff etpress.

^..vhii\^ -]^ f'fi \ ^.:Ai^\^.^i\:j^ ^

Ah ! Give thy hand, good peasant, to me, Heaxts are heaits the weary world all over.

p Mi'B ff^UH ^^^^^

r

Peace still dwell with thine and thee! So nowpiay-eth the war-worn ro-ver!

Wt. k

fg^is^iyrriC-i:^ ! F?F ^ ir r>rirr r

1

f^i' 1 I

-»^

4^

FRANKLIN SQUARE SONG COLLECTION.

The sects are various stops in the organ of Christen-
dom. Some are narrow in their range, and give us no
sweeping, largely-rounded literature. Some waken for
us, when they are drawn, like the Methodist, the cheer-
ing gamut of grace. Some, like the Calvinists, shake
the air with the mntterings of Infinite wrath and the
thunderous vibrations of the law. Some are the duldna
stops, that sprinkle sweetness and cheer, like sunshine,
npon souls. Some are ranged for the mystic melodies
that repeat the key-note of the Gospel of John; and some,
like the Universalists, are, in the structure of Christen-
dom, like the viol d'amour stop, repeating continually
the pathos and pleadings of Infinite love. Even the
three great divisions of the Christian Church — the
Catholic or Ritual, the Evangelical or Sacrificial, and
the Spiritual, which includes all the branches of liberal
Christianity — repeat the three separate organs — ^pedal,
choir, and swell — that are blended to complete every

full-toned instrument. Of course, I do not for a moment
mean to assert that the hostile dogmas of different sects
are necessary to the completeness and unity of Christtan
truth. A dozen intellectual contradictions cannot com-
bine into catholic verity. But the sentiments which
different churches stand for and work out, though they
may be connected with doctrines that are utterly un-
congenial, are essential to the fullness of religious truth
and the complete compass of the Spirit in the Church.
Churches and sects exist by and for the sentiments they
appeal to and feed. Their dogma is husk ; this is conr.
I do not believe the Calvinistic creed ; perhaps no two
consecutive or selected propositions of it coincide with
the intellectual truth ofneaven. But there is a sever-
ity and stringency in the law of God and in its hold
upon us, as solemn, as certain, as awfid as the hoarse
sub-bass of Calvinism. It is not the whole music of
Christendom, but it is the ground tone of the truth of

DREAM ON, YOUNG HEARTS.

AlUgrtUo. [^

jSpoKUt.
I

i> \\ i \ i ;j i \ ^ i^ Jl J ;Jljlj > V l /J^

1 . Dream on, young hearts, dream on, dream on,But dream of all things gay ; Dream that the morrow

2. Like sud-den meteors o'er ourpaths,Brightjoys, they flash and fly; As sunshine yields to

miififpgpi^Ffl- l fc^p r i p ..f if p ^

f

Ai* I k. I k. cidlib, ^ Pint. "* ,

will be bright. As bright as yes-ter-day . Wake not, wake not from scenes of bliss, Youth's dreams are ever
win-try clouds. As spring flow'rs bloom and die. So hope gives place to vain regrets, So grave succeeds to

^

&ir. Your world, it is a world of dreams. Wake not to ours of care ! Dream,
gay; So all that's fair a moment dwells. Then blighted dies a - way. Dream.

Yhf *\ \ y^\\ \ \ \\\ \ nn

^

things. If you say that it arbitrarily dooms a soul to
eternal woe, you misinterpret it ; if you strike it but
from your conception of life and the universe, you de-
bilitate the Gospel, and strike out the pedal terrors,
that, none the less for Christ's coming, roar around a
deliberately evil career and character. So, too, there
is truth in the love of God, his patient waiting, plead-
ing, never-tiring love, sweet as the most cordial Uni-
versalism ever breathed. The Universalists may be
wron^ at a thousand points, in their rendering of texts
and tneir combination of proofs for their doctrine from
Scripture ; but in this sentiment, and in their faith that
the love of God for each particular soul will last as
long as his justice and as long as eternity, they are not
wrong. Only both the trutl^ must go together ; the
grace and the bass must interblend, one giving body to
the other, and one mellowing the oUier; neiSier must

be hampered by fetters of time, or interpreted in regard
to time, before you get the true harmony of the Spirit.
Still further, there is a depravity in human life deep
and dreadful as the plummet of Augustine sounded;
and there is glory in human nature high and lustrous
as the vision that charmed the upward gaze of Chau-
ning; there is a homely substance to all true religion,
which no moralist, wedded to the Epistle of James
can set forth too roughly, and there is a mystic truth
in correspondences between the celestial and the
visible world as penetrating and as comprehensive
as the Epistle to the Hebrews and the uncounted
volumes of Swedenborg would disclose. The in-
tellectual setdngs may be inaccurate, but the spirit-
ual truth, the sendments t)iey enclose, are nght,
and increase the compass of the Spirit in Christendom
and the volume of its harmony. — Rev, T, S. JCine

FRANKLIN SQUARE SONG COLLECTION

43

OH, LOVED ITALIA

Andanttmouo, [PAHIGI, O CAHA.]

G. Vrrdi.
From " La Traviata."

. fO loved I - tal - ia I dear home of our childhood ! Ah! with what joy we welcome thv

rO loved I - tal - la I dear home of our childhood ! Ah! with what joy we welcome thy
\ Yes,Joved I -tal - ia ! dear home of our childhood ! Thou ait our mo • ther, roam where we

A

nilr ^flr hrir I T i rP i |; bHrMk"^

shore. Of - ten. in sad-ness, our fond hearts have ponder'd, Sifirhincr to tread thy valleys once

u — f-^

shore. Of - ten, in sad-ness, our fond hearts have ponder'd, Sighing to tread thy valleys once
will. Oh, when the mem'-ry of all else hath fad- ed. We shall revere and cherish thee

more As we be-hold thee. Still calmly glowing, Clothed in thy beauty, Like some fair bride.

m

All that in absence Warm-ly we pictured, Now fills each breast "With rapture and pide.

rf mm } .}.\n \ : ^

cr^

i^ ^

J 311 jl;"^; *'';

m

g g g

still. O loved I - tai - ia I dear home of childhood! We shall re - vere thee, and

t\ f ^\ii'c\a"-: \^f r \ f ^ f fi^ w

TSt. ^

^.^jjjij-j i ijJ-^

tempo.

■^&^

NM

13JU J

'« — ^

cher-ish thee still; cher -ish thee still

; O Wd I -

tal • ia! O lov'd I -tal - ia!

44

FRANKLIN SQUARE SONG COLLECTION.

Music is the truest and most nearly adequate ex-
pression of the religious emotions, and so becomes
prophetic of the destiny of man as a religious being.
" The soul of the Christian religion," says Goethe, " is
reverence.*' It is also the great, inclusive act or con-
dition of man as he comes into perfection. Goethe adds,
with profound suggestiveness, that it must be taught
The highest conception of the use of creation is as a
tuition in reverence. Whatever else it may teach, it
teaches this, or, if it fails in this, it teaches nothing.
Materialism is breaking up and disappearing under
the discovery of laws and processes and cau.ses for

which it has no explanation, and all things are resolv-
ing into mere S3rmbols of will and mind and feeling.
Already matter has eluded the touch of our senses,
and our recognition of it as a thing in itself is a mere
conventionality of speech. The resolution of it into
force or motion, and of its processes into forms of
thought, is a drawing out of more than every alternate
thread from the veil that hangs between creation and
its Source ; the veU may never be wholly put aside, but
it grows continually thinner, letting through revealing
rays of truth and glory. When this process gets ftiU
recognition — as it surely will — and men become tired

THE CAMPBELLS ARE COMING.

^8" Allegro.

Old Scotch Air.

Tne Campbells are comin*, O ho, O ho. The Campbells are com- in*, O ho, O ho!Th<

Campbells are com -in' to bon-nie Loch-lev -en, The Campbells are comin'

', O ho, O ho!

w,ierfpe« | e:ge::rt||!fgfe .| C pp

' W W W l^ ^ ^ 'i^ p ^ ^ P ^ ' k ^ ' i . ^ i

I. Up - on the Lomondsl lay, I lay. Up -on the Lomonds I lay, I lay; I

1. Up - on the Lomonds I lay, I lay. Up - on the Lomonds I

2. "ilie great Ar -gyle he goes be - fore. He makes his can - non

3. The Campbells they are a* in arms, Their loy - al failh and

lay, I lay; I

loud - ly roar; Wi*

truth to show;Wi*

^^

D.S.

dow

look - ed down to boimie Loch-leven And heard three bon - nie

sound of trum-pct, pipe, and drum, TheCampbellsarecomin' O -

ban • ners rat - tlin' ^m the wind. The Campbells are comin' O -

m

^

)i-pers play. The
ho, 0-ho! The
ho, O-hoJ The

fif ^e firgf ? I F Er?

:fc=l?=

■t-

of the senseless play of agnostic phrases and catch-
words, and philosophy triumphs as it always has tri-
umphed and always will, there will be but one voice
issuing from creation — the voice of praise, and but one
feeling issuing from the heart of man — the feeling of
reverence before the revealed Creator. Then the heart
of man will require some form of expression for its
mighty and universal conviction. We have already
a great oratorio of the Creation, but we shall have a
greater still — ^profounder in its harmonies and more
majestic in its ascriptions. — Rev. T. T. Munger.

The well-known martial air of "The Campbells
are Coming" is very old. The " great Argyle " is sup-
posed to luive been John CampMl, duke of Argyle,
who commanded the royal forces in Scotland during
the rebellion of 17 15. Sir Walter Scott refers to him
in " The Heart of Mid-Lothian," as follows : " Few
names deserve more honorable mention in the history
of Scotland during the memorable year of 17 15.
Soaring above the petty distinctions of faction, his
voice was raised for those measures which were at once
just and lenient/' The author of the song is unknown.

FRANKLIN SQUARE SONG COLLECTION.

45

NEW HAIL COLUMBIA.

Spirited i

F. HOPKXNSON, X798.

Olivbr Wendell Holhes, X887.

nH \ r^r\'li'li

^*=st

1798. Hail, Co-lum-bial hap- py land, Hail, ye heroes,heav*n-bom band. Who fought and bled in

1. Look our ransomed shores around. Peace and safe-ty we have found! Welcome, friends who once

2. Graven deep with edge of steel, Crowned with Victory's crimson seal, All the world their names

3. Hail, Co-lum-bia I strong and free, Throned in hearts from sea to sea ! Thy march tri-umph - ant

freedom's cause, Who fought and bled in freedom's cause. And when the storm of war was gone En -
were foesl Welcome, friends who once were foes, To all the conquering years have gained, — A
shall read ! All the world their names shall read. Enrolled with his, the Chief that led The
still pur-sue I Thy march triumphant still pur - sue With peaceful stride from zone to zone. Till

t=^

^W

m

ii rgrr i ff y

-J — hu.

^* 1

zMnati

joy'd the peace your val- or won. Let in - de-pendence be our boast, Ev - er mind-ful

na - tion's rights, a race unchained! Children of the day new - bom, Mind-ful of • its

hosts, whose blood for us was shed. Pay our sires their children's debt, Love and hon • or, —

Free- dom finds the world her own! Blest in Union's ho • ly ties. Let our grateful

^

rp i rff^e^iT'fffFff^^if^

^fcr=

±

what it cost: Ev - er grate -ful for the prize. Let its al - tar reach the skies.

m

what it cost; Ev - er grate -ful for theorize. Let its al - tar reach the skies,

glorious mom. Let the pledge our Fath- ers signed. Heart to heart for - ev - er bind !

nor for -get On - ly Un- ion's gold- en key Guards the ark of Lib-er - ty!

song a -rise, — Ev-ery voice its trib-ute lend, — All in lov - ing cho - rus blend !

fFfH r g

^

r r F ""r £

rg X-

Chorus. I ^0L

iif'j.jj !i.D.n:iii J u . ' li ici'fj

1798. Firm, u - ni - ted, let us be, Ral - ly - ing round our lib - er - ty,
(x -3). While the stars of heaven shall bum, While the o-cean tides re - turn,

A-s m-^m ^Lnr* « (SI H^

m

it=$-

^m

^t

^'

©-

IJM ij nLT,^i|,^nii

i

As a band of broth -ers join'd. Peace and safe • ty we shall find.
£v - er may the circ - ling sun Find the Ma - ny sdll are One !

m^i=m

-«-

,s^

f=F

Written, by request, for Centmnial of Constitutioo of United States at Philadelphia, Sept. 17, 1887.

46 FRANKLIN SQUARE SONG COLLECTION.

SPEED, MY BARK, GENTLY SPEED THEE.

AlUgrttto. f^ ^ 1^

'Chsvalibx Nbvkomm.

1. Speed, my bark ! O gent - ly speed thee, where - so - e*er the soft tides lead thee !

2. Speed, my bark 1 O gent - ly 4^ed thee, where • so- e'er the soft tides lead thee !

(TMf-F' i f-F^ i Ff i p'f^ i ^-^^'^'lT i F'F' ' ^

0*er thesil-ver stream ca-reer-ing Where the graceftil swan is veer - ing. Speed m)

0*er thesil-ver stream ca-reer-ing Where the graceftil swan is veer - ing. Speed my
Neath the fai - ry wood - land shadows, Where the wild deer roams the mead -ows, Speed my

mr ef ^ifffpir prpr r^^ fr

itfj, j, i j^;j; i j, j. i .i:>^.'^ i -i'^-^jij;, ii

bark! O gent
bark! O gent

ly speed thee, Where
ly speed thee, Where

so • e'er
so - e*er

the soft tides
the soft tides

lead "^ thee!
lead thee!

the moonlight's gracious beam - ing, By tfie golden
irk ! the night-bird's note so tend - er; Lov-er's song doth Heaven

;' bright

^

f"eri-i Ejf

H ^JL^

^

S^lf:

y ^ t K

9

#^^;jiJ^J IS^iU ;jij-iF^^

ieam-ing, Oh I 'tis sweet, this course unaided, Wlien the sum-mer day has ftidedl
fend her! Far a - way earth's -weary noises. Round us £ - den and its joys.

, When

c.i:t: i f fiVirn^ i rcrnrn

.#

i

m \ i.sMMf'\u

ly speed thee, where - so - e'er the soft tides

Speed, my bark! O gent

^

£

p:p: i V.p: i c:p: pf. i rrffi

e±3?:

m

1 — f

FRANKLIN SQUARE SONG COLLECTION.

47

lead thee! Speed, my bark! O gent - \y speed tnee, where - so •

m l:c \fy ^f' f' i f M^ e if ' ^'^fe

^

••, - ^. ri j.rjJJjj/j' MfA i j . . i. i

p

SE

e*er the soft tides lead thee! Let the wodd its strife pur -

its*:

ff'''^jju.i. i i-j^jir^i^^Nii.Ni.f i

sa - ing, some up - raise and ofeh • ers nt - in! Naught to-night shall

nf^ C l if : p: ip'f tf f ' i f- f # F f-i

eive me sor-row; Come, re - pose, un - til the mor-rowl Earth with all its

J:^^

\.a^TUt-U^ T^U^T^.\rf

V1 U

yjj JiJl iij-JJ: l J. jjj JJS;!'!^!,],] ^ ^

cares and seem - ing. Dies away in fair • y dream - ing : Oh ! that here my

■*^-^ -^.j^j".

m.. I ..I K

£

l l l 'IpM!

i

rfitti . t

^'- i F- l F £^^ F l

fcsjf

^

1 u I u

1 — r

life devoting I might lest thus lightly float

-00m

Kit

PBi:

^

48

FRANKLIN SQUARE SONG COLLECTION,

The hymn, " Blest be the tie that binds," was written
by Rev. John Fawcett, an English Baptist, who died
1817, aged seventy-seven, having spent nearly sixty
years in the ministry. In 1782 he published a small
volume of hymns. It was in 1772, after a few years
spent in pastoral work, that he was called to London
to succe^ the Rev. Dr. Gill. His farewell sermon had
been preached near Moin^^te, in Yorkshire; six or
seven wagons stood loaded with his furniture and books,
and all was ready for departure; but his loving people
were not ready. They gathered about him, and " men,
women and children clung around him and his family
in perfect agony of soul." Finally, overwhelmed with
the sorrow of those they were leaving, Dr. Fawcett and
his wife sat down on one of the packing cases and wept
bitterly. Looking up, Mrs. Fawcett said, " Oh, John,

John, I can not bear this! I know not how to go!"
" Nor I, either," said the good man; "nor will we go.
Unload the wagons, and put every thing in the place
where it was before." The determination was hailed
with tears of joy by those around, and a letter was at
once sent to London explaining the case. Dr. Fawcett
then resolutely returned to his work on a salary of
something less than two hundred dollars a year, and
this hymn is said to have been written to commemorate
the event. Few hymns have had sweeter associations
than this. When Mr. CofHng, a missionary at Aintab, in
Armenia, set out in i860 to explore the Taurus Moun<
tains, he was to penetrate an entirely new and dangerous
field. This fact was so keenly felt by the inhabitants
of Aintab that they gathered to the number of fifteen
himdred, on the sides of the road, and bade farewell to

THE SAINTS' SWEET HOME.

m^ ^^^jt^^^ ^

David Dbnham, xSaS.

1/ 1/

1. 'Mid scenes of confusion and creature complaints, How sweet to my soul is communion with saints !

2. Sweet bonds that unite all the children of peace. And thrice precious Jesus, whose love cannot cease.

3. While here in the val-ley of con-flict I stay, Oh, give me submission and strength as my day;

4. Whatever Thou de - ni - est, oh, give me Thy grace ! Thy Spirit's sure witness, tlie smile of Thy fece ;

J

kvii ' Tf-rrFTO i f' . TrT i rrr i frc i '

I

To find at the banquet of mercy there's room. And feel in the presonce of Je - sus at home.
Tho' oft from Thy presence in sad - ness I roam, I long to behold Thee in glo - ry at home.
In all my af - flictions, to Thee would I come, Rejoic-ing in hope of my glo - ri-ous home.
In - dulge me with patience to wait at Thy throne, And find, even now, a sweet fortaste of home.

b^ i ^=^7 i ^FF i ff f£i^^ii'rr i f;g

i ^j \ H \^^ t^i \' ^ v JiJj'J i j;?; ^!

Home, home, sweet, sweet home ! Pre - pare me, dear Saviour, for glo - ry, my home.

^

^Ni

^

^

m-

the missionary and his family in the Armenian words
of this h3rmn. Dr. Belcher's description of the last
public service conducted by Dr. Fawcett may well be
copied in full, to dose this account. He says : <* Let us
take our last look at thb excellent minister of Jesus
Christ. He has ascended the pulpit of an Association
in Yorkshire. A thousand eyes are fixed on him in love
and admiration and all present express their conviction
by nods and smiles, that a spiritual feast has been pro-
vided for them. As a good soldier of Christ, he has
endured hardness for more than half a century. His
praise has been in all the churches; his ministry has
been greatly prized through the whole of that populous
district, and his usefulness has been honored at home
and abroad, in the cottage and in the palace itself. He
has now come to bear his dying testimony to the doc-

trines of the Cross, and to bid farewell to the ministers
and friends with whom he has been so long associated.
Many of them have a strong presentiment that they
shall see his face no more, and are prepared to receive
his message as fix>m the lips of a man who has finished
his course and now stands at the entrance of Heaven.
As he rises in the pulpit, a death-like silence overspreads
the crowded congregation, and all ears are opened to
catch the words of inspiration. With a tremulous voice,
and with deep emotion, he reads the text, < I am this
day going the way of all the earth,' and long before he
finishes his discourse, the house becomes a Bochim —
the house of God — the gate of heaven. The sermon,
committed to the press by its hearers, yet exists as a mon-
ument to his love of truth, his holy affection and his zeal
for the extension of the doctrines of sovereign mercy."

FRANKLIN SQUARE SONG COLLECTION.

49

SAFELY THROUGH ANOTHER WEEK.

John Nbwtom.
L. Mason.' " Saobath Mokm/

mu vyi i i v\ j Mi uv M,i ^

1. Safe - \y through an-oth > er week, God has brought us on our

2. While we pray for pardoning grace, Thro* the dear Redeemer's

3. Here we come thy name to praise; May we feel thy presence

way; Let us now a bless-ing
name, Show thy re - con - cil - ed
near J May thy glo - ry meet our

fcf»ag'f i f'FFF

g*^

mnm

^

C Jlf z

¥ ¥

r>^f:JiJ.NjijJ: JM rrni r }\

seek. Wait -ins: in his courts to - oay. Day of all the week the best, £m-blem

seek, Wait-ing
face, Take a
eyes. While we

in his courts to - day. Day of all
way our sin and shame; From our world
in thy house ap - pear, Here af • ford

WM--

m

the week the best, £m-blem
ly cares set free. May we
us, Lord, a taste Of our ;

ff'i8i^^ffF- i t fT-i iii

J;J.l |.lJ: JM;JJn bN^lM^

of e - ter - nal rest, Day of all the week the best, £m-blem of e - ter - nal
rest this day in thee. From our worldly cares set free. May we rest this day in
ev • er - last-ing feast, Here af - ford us. Lord, a taste Of our ev - er - last -ing

rest
thee,
feast.

BLEST BE THE TIE THAT BINDS.

John Fawcxtt.
H. G. jNagkli. "Dbnnxs."

^''U\irJ,i \ ^-l^\^\ I l ^j.lihjj l 4;j^ilj I I

1. Blest be^ the tie that binds Our

2. Be - fore our Fa - ther's throne. We

3. We share our mu - tual woes. Our

4. When we a • sun - der part. It

hearts in

pour our

mu - tual

gives us

Chris - tian love;
ar - dent prayen;
bur - dens bear;
in - ward pain;

ttufir^F i M^p+M^p^C i ^^^

f j i ^j/ i i^'jj i -j - jjy.-^i i ji^jji^^

The fel - low

Our fears, our

And ofr • en

But we shall

ship of kin - dred minds

hopes, our aims are one,

for each oth - er flows

still be joined in heart.

Is like to
Our com - forts
The sym - pa -
And hope to

r

that a • bove.

and our cares,

thiz " ing tear,

meet a - gain.

I fi'^'rir'r'ri iirr'n^'F

A charge to keep I have;

A God to glorify;
A never-dying soul to save.

And fit it for the sky.

V— 4

2.

Arm me with jealous care.
As in Thy sight to live ;

And O thy servant. Lord, prepare
A strict account to give.

Help me to watch and pray,
And on Thyself rely;

Assured if I my trust betray,
I shall for ever die.

so

FRANKLIN SQUARE SONG COLLECTION.

This remarkable description of our Saviour is found
in ^an ancient manuscript, which is said to have been
sent by Publius Lentulus, President of Judea, to the
Senate of Rome : " There lives at this time in Judea, a
man of singular character, whose name is Jesus Christ.
The barbarians esteem him a prophet, but his foUowers
adore him as the immediate offspring of the immortal
God. He is endowed with such unparalleled virtue as
to call back the dead from their graves, and to heal any
kind of disease with a word or a touch. His presence is

tall and he is elegantlv formed. His aspect is amiable,
reverent. His hair falls, in those beautiful shades which
no united colors can match, into graceful curls below his
ears, couching on his shoulders and parting on the
crown of his head, like the sect of the Nazarenes. His
forehead is smooth and large. His nose and mouth are
formed with exquisite symmetry. His beard is thick and
suited to the hair of his head, reaching a little below his
chin. His eyes are bright, clear and serene. He rebukes
with majesty, counsels with mildness, and invites with

HOW TEDIOUS AND TASTELESS THE HOURS.

^m

Maria ds Fleurv.
J. Nbwton. " De Fleurv/

i\i'.lM l L i-i^ m

^

I. Ho^

iow te - dious and taste - less the hours When

2, His name yields the rich - est per - fume, And

3, Con - tent with be - hold - ing His face. My

4, Dear I^rd, if in - deed, I am Thine, If

Je - sus
sweet • er

all to
Thou art

no long - er
than mus - ic
His pleas- ure

my sun and

I

I see!
His voice ;
re - signed,
my song,

HiMffffffffffnf'uffFfr^ g

Jj;j|j=^4«^f-i^^^

*

i=f»=

Sweet pros -pects, sweet birds and sweet flow'rs.
His pres - ence dis - pers - es my gloom.
No chang - es of seas - on or place
Say, why do I lan-guish and pine?

Have
And

Would

And

lost all
makes all
make an
why are

their sweetness
with - in me
- y change in
my win - ters

for me :
re - joice:
my mind :
so long?

kfMff-^-N^!=ff^' r: i f r f f F-tT^

tf/j:inj-;j-fd: l. \ m^

A— k

The mid - sum - mer sun shines but dim, The

I should, were He al - ways so nigh, Have

While blest with a sense of His love, A

Oh, drive these dark clouds from my sky ; Thy

fields strive in vain to look gay,

noth - ing to wish or to fear ;

pal - ace a toy would ap - pear;

soul- cheer - ing pres- ence re - store ;

&r\t itt H \ l' p:|!ftfff g

i

^'Mi ii^m

^

But

lut when I am hap - py in Him,

No mor - tal so hap - py as I;

And pris - ons would pal • a - ces prove,

Or take me to Thee up on high,

De - cem-ber's as pleasant as May.

My sum -mer would last all the year.

If Je - sus would dwell with me there.

Where win - ter and clouds are no more.

hr i ffffffff^nr'F- i F FFHf

the most tender and persuasive language ; his whole ad-
dress, whether in word or deed, being elegant, grave
and strictly characteristic of so exalted a being. No
man has seen him laugh, but the whole world has seen
him weep frequently ; and so persuasive are his tears that
none can refrain from joining in sympathy with him. He
is very moderate, temperate, and wise. In short, what-
ever the phenomenon may be or turn out in the end, he
seems at present a man, for excellent beauty and divine
perfections, every way surpassing the children of men.'*

Indeed, as we only come to full consciousness of
ourselves in emotions — emotion or feeling being the
highest exercise of our nature, and there being so much
to awaken it — so far as we can reason from our nature
to its origin, it indicates that we spring from a source
of feeling, or an infinite Heart. Hence the highest
wisdom has declared that God is Love, and that the
worlds were made by the Son of God — the eternally
begotten manifestation of Love; and the severest
science cannot logically assert the contrai7. — Munger,

FRANKLIN SQUARE SONG COLLECTION

SI

JESUS, MY ALL, TO HEAVEN IS GONE.

JOMM CSNNICIC.

Geo. Coles. "Duakk Stebst.'

^aE

1. Je - SU8, my all, to Heaven is gone, He whom I fix my hopes up - on; His track I see, and

2. This is the way I long have sought, And mourned because I found it not ; My grief a bur - den

3. Lo ! glad I come; and Thou, blest Lamb, Shalt take me to Thee, as I am; Nothing but sin have

hM fifp pf i fFF fi'^'^Fr i fr^cc i ^ p

y";'.^J;IH.I,^,'^ I J. i : i JlJJJJ l :lj;IJIa

1*11 pur-sue The narrow way, till Him I view. The way the holy prophets went, The road that
long has been. Because I was not saved from sin. The more I strove against its power, I felt its
I to give; Nothing but love shall I receive. Then will I tell to sinners round, What a dear

ni'frrr i 'rr:^ i rr tiY''''n i r i T i i'f

IJ' jji,',,vj,ijJ.MIiJ.li.'.i,'^,^

^st

It, The

leads from banishment. The King's highway of ho - li - ness, I'll go, for all His paths are peace,
weight and guilt the more; Till late I heard my Saviour ^y," Come hither, soul, I am the way."
Sav - iour I have found; I'll point to Thy redeeming blood, And say," Behold the way lo God."

J,, ja,T>,i»-

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m

35=1?:

P C i ff

^

*=*ct

t=t

MUST JESUS BEAR

^^m

THE CROSS ALONE?
-4

^

-t-

Thomas Shepherd.
G. N. Allen. ** Maitland.*

M f ^

^^

r^

:^

zsn

•J VeJ-rdt

1. Must Je - sus bear

2. How hap • py are

3. The con • se - era •

.-^2

the cross a - lone, And all the world go free?
the saints a - bove. Who once went sor - rowing here I
ted cross I'll bear. Till death shall set me free;

p

mry .

i r^ ufn

¥^

m

^=^

s-

i^

^&

^

^ ' gJ>^

No, there's a cross
But now they taste
And^ then go home

for ev - 'ry one. And there's a cross for me.
un - min - gled love. And joy with -out a tear,

my crown to wear, Por there's a crown for me.

Let worldly minds the world pursue.
It has no charms for me ;

Once I adored its trifles too.
But grace hath set me free,

Its pleasures can no longer please,

Nor happiness afford.
Far from my heart be joys like these.

Now I have seen the Lord.

As by the light of openii^ day
The stars are all concealed.

So earthly pleasures fade away
When Jesus is revealed.

s»

FRANKLIN SQUARE SONG COLLECTION.

GAILY SINGS THE LARK.

Mozart.

^ffW'LAClDAKBM.'

'■^j j'H JU j:i; iHS\} *\iiH^Mi^

1. Sieh not o'er toil and trou-ble, Grieve lightly o-ver wrong; We on -ly make grief double By

2. Fair hopes have not depart-ed, Tho' ro -ses may have fled ; Then never be down-hearted, But

dwell - ing on it long. Why clasp Woe's hand so tightly ? Wliy sigh o'er blossoms dead ? W- hy
look for joy in -stead. Pass light • ly o • ver sad-ness, Stand not to rail at doom; We've

W l ffj:\yi \ ^,^ l \ :}i i \ H ^ , [ \ f^ n

f jiUMl i \ p(iL^ \ ^^i\ff'^p \ ^* \

cling to forms unsight-ly? Why not seek joy in • stead? Why not seek joy in -stead?
pearls to string of ^adness On this side of the tomb? On this side of the tomb;

s

h" C: B'' E i Ef Fi EBBrn g f ff i g gE

fU^\f \ ; ^ ^\ \ i^}m^iAUp} \

Sink not mblind-ing sor-row,Tho' still the day oe dark, The sun may shine to-
While stars are nightly ^in- ing, And Heaven is o - ver-head, En - courage not re -

mor-row, And gai-ly sing the lark, and sing the lark, and sing the lark, sing the
pin - ing. But look for joy in - stead, for joy in • stead, for joy in - stead, for joy

f ' M-J^ | j'J;fJj1;..hj]j,j/J.JjHJJ:rj^j1

lark. There's never day so sun-ny But lol a cloud ap • pears ; There's never life so
in -stead. There's never day so sun-ny But lol a cloud ap - pears ; There's never life so

fei- ^"i^ ^Bg' & i H'-EB ^ 'E i ff''^i[:^ffc ^

FRANKLIN SQUARE SONG COLLECTION.

53

f *: ^^, \ '! iiXnf^p^^s^^H^\

glad, But bath its time of tears; There's never garden glowing With roses in

each

f^f\^^^^^\^ j'-l \ 4^] \ ^ hJi y ^ii

not, for - get - me - not, for -get -me -not, To find for - get - me - not.

ASegro.

ruTft^jJfiJrrFJirJfi'i ' ^M ' f i ^T ' ^'' 'J-

M

^f$-

1 . Why fear the pain that pass-es, Ye mer • ry lads and lass - es ? The birds will al - ways

2. Sigh not overtoil and trouble, We on- ly make grief double! The birds will al-ways

nnmwmm^ ^

SSf

\*^

^'*i\^ ^-Jiid-^-^i-i^-'-b-

^i^^^

s

^

"1 ^ X

sing! The birds will sing, The birds will sing, will sing, The .

i ^t" ^' "F i i* "f" ig-'-'f" i ^^^' i ^ if ""f 1 1^ 5^

|vj;j.^j-.gij;j.^j,p:ni;.t!i§

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birds will al-ways sing, The birds will al-ways sing. The birds will al - ways sing.

ty; f f r M^ "^^P> ^f ' T i f-g^ fe

-*-^

54

FRANKLIN SQUARE SONG COLLECTfON.

There is in music a moral law of sympathy as im-
perative as its mathematical laws. Hence also no one
Mho is centrally selfish eyer becomes great either as
■composer or performer; and often — ^when everjrthing
else seems perfect — the defect lies at this very point. "If
I could make you suffer for two years," said a teacher
to a noted singer, " you would be the best contralto
iin the world." It follows with sure logic that no one
can truly sing God's praises who does not adore God.
No training of voice or touch can compass the divine
secret of praise. The feeling; of praise — ^not as mere
feeling, but as solid conviction — ^must enter into the
utterance or it lacks the one quality of highest effec-
tiveness. It is said that the undevout astix>nomer is

mad, but the undevout musician is an impossibility.
If we fail to distinguish between what may be called
Jim and genuine rendering, it is because it is not al-
ways easy to distinguish between reality and unreal-
ity. What is the matter with the music ? is a ques-
tion often asked. The technical rendering may be
faultless and the defect lie in that inmost centre
whence are all the issues of life and power. In the
nature of things there is the same reason for faith,
consecration, devout feeling, and holy living in the
choir as in the pulpit, and there is nothing unbecom-
ing in the conduct and feeling of the preacher that is
not equally unbecoming, and for the same reasons,
in singers of the divine praises. — Rev. T, T. Munger,

FAREWELL FOR EVER.

H. B. Farmib.
Michael CoNmLLv.

UiiM^^ilt'^

1. All night thro' thy slumbers my passion- ate numbers Have thrilVd to thy dreaming

2. My heart wild-ly beat-ing would hear thee re - peat-ing Thy vow, thou art mine a-

heart, Till drawp by my sor- row. Thou wak'st with the morrow, To know that this hour we
lone; And far o'er the bil- low, My dream-haunted pil- low Shall bring thee again, mine

W:. g

l' l ^fff l f i "F l ffflf[i [ i l [['ff [I

cz$:

focoariUUc,

pait. Thedewsof last night are dry on the plain. Yet on mycheekstearsare fall- ing like
own. One touch on my huid, one kiss on my brow, O- ver land thou art a mem-o - ly

riiard.
rain. Oh! Farewell for cv-cr, Farewell to thee ! Mountains may sev-er

ke^ i ^jjpifF? i fM^r^7 i ^'igg:[i i gfi

p tullib. /t<j

if]jji^y.iifi.riij^J^^^JiijJiii i

Man - y a lea! Bright tho' our dreaming, 'Twas not to be. Farewell, my own, to thee!

k i ' rfV^ l fP?l^flf^^v■ l ;^p-£tti

FRANKLIN SQUARE SONG COLLECTION.

55

BIRDS IN THE NIGHT.

[A LULLABY.]

Arthur Sullivan.

tlll:y j' ' ' ^'"^^ 'l'i ■^■^■MUal

1. Birds in the night that soft - ly call, Winds in the night that strange - ly sigh,

2. Life may be sad for us that wake; Sleep, lit -tie bird, and dream not why;

^ ,gf^ . j 3J 3^ . #

r'rrTiiTrr^^rrfi i

1^

^^^^^^

?if=^^=rR

J f J f

Come to me, help me, one and all, And mur - mur, mur-mur, mur-mur,
Soon is the sleep but God can break, When an - gels whis - per, whis • per.

k P \, I n \ PP^n\rf f^m \

fcrrfe

m

^

/ (=r^m ^

=5t=^

J 9 T'l

r

murmur ba - - by*s lul - la - by, Lul-la - by,
an -gels whis - per lul - la • by, Lul -la - by,

lul-la - by, Lul-la

lul-la - by, Lul-la

tMr.ipy^,\if pee i FFfefF^f^

lul • la lul - la lul • la lul - la - by, Lul-la - by, ba - by. While the hours run.

^

^'HEEb£EEE i - ' ff r .,f r i ffr.r

^

Fair may the day be when night is done, Lul -la -by, ba - by. While the hours run, Lul • la •

a'i^^fFi'Mi^^ri FFFFp i FFFP^

5.6

FRANKLIN SQUARE SONG COLLECTION

Thx main office of music is to secure sympathy.
When a great singer, taking words that are them-
selves as music, joins them to notes set with a
master's skill, and, pouring into perfect tones the
passion of a feeling heart, so describes some tragic
tale of death, every heart of a thousand hearers b^Us
with a common feeling, and every mind, for the time,
runs in the same pau of pity and sadness; for the
moment there is absolute sympathy. If instead a
truth or principle underlie the song, there is also a
temporary agreement in thought. The moral and
social value of such experiences is great; they lead
away from selfishness, and point to that harmony of
thought and feeling towards which humanity is strug-

gling. So, too, in nodttdng music, its highest effiscts
can be gained only when the performers not only
read and utter alike, but feel alike. ... In one of
Beethoven's S3rmphonies, he opens with four full, strong^
chords from the entire orchestra; then the separate
instruments begin to war Upon them, strive to over-
power them with the blare of trumpets, to drown
them in the complexity of the violins, to silence them
under the rattle of the drums; but the primal chords^
yielding at times, still hold their own, gather force,
reassert themselves, and at last overpower their antago-
nists by patient persistence and all-conquering sweet-
ness, rise into full possession of the theme, and sweep
on into harmonies divine in their power and beauty.

BRIGHT STAR OF HOPE.

[CALL ME, THINE OWN.]

Hauevt.
From " L'EcLAXR."

1. Call me "thine own," name fond, en-dear- ing. Like mu -sic sweet it falls on mine ear;

2. Years may roll on, youth's dreams may leave us, Hope faint and die that light -ed our way;

Tells me of hope, life's pathway cheer - ing, Whis-pen ofhome, with thee ev - er near;
Tri - als may come, sor- rows may grieve us. Friends may de-part, or false - ly be -tray;

Call me "thine own," doubt would de-stroy, For on - ly thro* faith are we se - cure;
Call me "thine own," all else may fail, jjWith love in our hearts, Heav*n still re-mains;

Mak-ing oui* hearts strong to en - dure What lies be - fore us, sor -row or joy;
Each bond with time fresh vig- or gains, And o'er life's tem- pests love shall pre -vail;

w

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f i F i PCCiFMr^

^

W^

If .i;iii iiiriiiir ffl:ji,%.rn

Call me " thine own," thine, thine alone ; Name fond, endearing.

Call me " thine own."

g

£

rrrrii i t n ri rTi f^^

^

FRANKLIN SQUARE SONG COLLECTION.

51

"ROUND THE CORNER."

ParUnU,

AlBBXT RAMBaGGUt.

_ ParuMie, «• -^ |k w

1. Round the cor-ner wait-in^;, what will peo-i>le say? If you wish to see me,

2. "When the church hath bound us, link'd two hearts in one, I shall care but lit • tie

3. Fif - ty things are stat • ed, things you'd ne'er sup -pose, If but something se-cret

P^mi \ ^' \ ii'f \ HiiO \ i^^ \ ^''\

there's a pro -per way. Vil-lage tongues are ev - er read - y, are ev-er read-y
how their tongues rail on; But un - til un • til the brid - al nev-er, nev - er let

in a neighbour shows; Boldly, bold - ly take the pathway, and their lips, their lips

I '^EEg ii ' arirm i r i ' i iTrfr i

p .

^)'' j; Jli^H s

f4^^\lit\'^f^^

with remark. Eyes are at die case - ment if a dog, if a dog but bark I

them find Aught to cause me blush • es, or hurt my peace, my peace of mind !

are stayed, All are quick to cen - sure if you seem, you seem a • fraid,

p ip^ffif !#1 ^

i'iimmiiV\n^i^^r^r^^

i

>i^

Round the comer waiting, What will peoplesay ?
Round the comer waiting. What will peoplesay?
Round the comer waiting, ^Vhat will people say ?

What will people say ? What will peo-ple say ?
What will people say ? What will peo-ple say ?
What will people say ? What will peo-ple say ?

^

lU UfU M i u tf 4\it U

-d^ly and distinctly. ^ ,^^ j^^^_

If you wish to see me. There's a proper way. If you wish to see me, There's a proper way.
Manly hearts should ever Take a manly way. Manly hearts should ever Take a man-ly way.
If you wish to see me, ITiere'sapropcrway. If you wish to see me. There's a proper way.

a^^eFeF i ff i ^^l i

58

FRANKLIN SQUARE SONG COLLECTION

During Jenny Lind's concert tour, the orchestra,
composed of eighteen soloists, was promised a benefit
perfotmance at Pittsbuigh, but for reasons it was not
given. Prof. Waldauer, who ( 1887 ) is probably the
only surviving member of the orchestra, says of it and
of her : " We were feeling pretty badly about our dis-
appointment, but on our arrival in Baltimore City, to
which we went from Pittsburgh, she sent for me and
gave me a check for ^5000, requesting me to give it
to the orchestra with her compliments, saying that
she regretted she had been unable to keep her

promise, but sent her check in lieu of the benefit per-
formance. You can imagine the pleasure of the boys
on receiving this, and when she came on the stage
that night we gave her a flourish with drum tand
trumpet such as no Shakesperian .king ever received.
Tenny Lind's voice could fill with ease the largest
hall in existence; her execution was marvellous, her
technique simply incomparable, for she could imitate
almost any musical instrument. In the introduction
to «• Alice's" air in "Robert le Diable" the orches-
tra has a beautiful passage, which is taken up by one

CUDDLE DOON.

AlBXAMDBR AlVDBRSON.

ft^ \ u \ mi\ii\i^\ivu ^ :i \ i.^

1. The baimies cud • die doon at nicht Wi' muckle faucht^and din. << O try and sleep, ye

2. Wee Ja-mie wi' the curl- y heid — He aye sleeps next the wa*— Bangs up an' cries,** I

3. But, ere five minutes |[ang, wee Rab Cries oot, frae 'neath the claes,*" Mith • er, mak' Tam gie

4. At length they hear then:, fayther's fit: A An* as he steeks the door, They turn then: fa - ces

tyan^tirfiFgiffifnFp i r i .'rT' i r ^

L f/J.llJjyiJ:J l JJ I .-lhd l J:JLlJa i JJ l J=.f i

waukrife* rogues. Your fayther's comin' in." They nev-erheed a word T speak: I try to
want a piece." The ras - cal starts them a*. I rin an* fetch them pieces, dnnks, — Thevstopa

ower at ance; He's kittlen'^ wi' his taes." The mischief 'sin that Tam for tricks: He'd bother
to the wa'. While Tam pretends to snore. ** Hae a' the weans? been gude ?" he asks, As he pit

to the wa'. While Tam pretends to snore. ** Hae a' the weans? been gude ?" he asks, As he pits

m' f f i f rfpM \ ^t\\\ i ff i f ^ f fe

tf,NJ i >Jh>ryiJ^' i j^ i J^i„j.:] i jjijjij

gie a froon; But aye I hap'them up, an' cry, **'0 baimies, cud • die doon I"

wee the soun', — Then draw the blankets up, an' cry, ** Noo, weanies, cud - die doon!"

half the toon I But aye I hap them up, an' ay, <*0 baimies, cud - die doon!"

aff hisshoon. **The baimies, John, are in their beds, An' lang since cuddled doon."

The baimies cuddle doon at nicht

Wi' mirth that's dear to me;
But soon the big warl's^ cark an' caxe

Will quateni odoon their glee ;
Yet, come what will to ilka ane,i>

May He who sits aboon**
Aye whisper, thouc;h their pows be banld,

*< O baimies, cuddle doon ! "

IstroggUng, * wakeful, Soover, ^dotfaes, 6 tickling, 9|bot, ^children, ^headj ^worid, ^ Oquiet, 1 leach cme, ^ *above.

An' just afore we bed oorsels.

We look at oor wee lambs:
Tam has his airm roun' wee Rab's neek«

An' Rab his airm roun' Tam's.
I lift wee Jamie up the bed.

An', as I straik each croon,*
I whisper, till my heart fills up,

<*0 baimies, cuddle doon!"

instrument after another, until at last the bassoons
finish the introduction. One night in Philadelphia
we were playing that passage, when, instead of com-
mencing her aria, she amused herself by imitating
every instrument used in the introduction. The
orchestra and audience were spell-bound and could
hardly control their delight * * When we arrived
in New York we gave concerts at Castle Garden with
the same success. She gave the orchestra another
Iwnefit there, which yielded 1 12,000. My engage-
ment ended Uiese. When I went to bid her good-bye.

she tried to induce me to go on with her, but I told
her I had an engagement awaiting me in St. Louis.
After I had said farewell to her and returned to my
room, her secretary came to me and handed me a
check for ^1000, a last present fix>m the noble woman."
The author of the above tender little heait-song
was, some years since, an employ^ on a railroad in
Dumfrieshtte, Scotland. The words «* Cuddle doon,"
are often heard from the fond mother to her children,
when they are in bed, encouraging the little ones to
nestle close to each other» and go quietly to sleep.

FRANKLIN SQUARE SONG COLLECTION.

SAFE HOME AT LAST.

59

Andantt mcdtraio.

CiRO PiNsun.

1. The clouds across the moorland fleet. Borne by the breeze That lifts the scented meadow -

2. For me it yet is summer-time, Life still is green; And if my tree has lost some

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%

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f

sweet, And stirs the trees. And ^irs the trees; The riv-er ev-er onward flows Toward the
leaves, Light shines between, Lightshines between ; If o*er my morning sky have swept Some threatening

et' f*-lYi'S^;% \mZ^. f ■ g p^ ^

fqfqs

^ k-g.

sea, By bow'xy shade or rocky glade. Or flow'ry lea. Or flow'ry lea ; Her untried way o'er sea and
gales. Yet still secure my vessel rides, With unrent sails, With unrent sails ; Then trustingly I forth will

land The swallow wings. The swallow wings ; Content she leaves her nest, and all Fa - mil - iar
fare. With heart content, With heart contend To meet the sunshine or the shower, Whichever is

n\VJz\ V\V ^\-\\\i \ ^^\\\

^

n

iJwiMmiMi\i'iiUi\M^

things, and all Familiar things. And pilgrims thro' the desert drear By stars are led. By stars are
sent, Which-e'er is sent And love shall bless the onward wav, As in the pas^ As in the

led, That hold their high unchanging course Far o - ver - head, Far o • ver • head !

past. And lead me with the closing day Safe home at last. Safe home at last!

m

r:fi r fF rr fF

Ll» W m

IE*:

^P

cz

^'•'"'UUU

6o

FRANKLIN SQUARE SONG COLLECTION

St. Stephanos, the Sabaite, was a monk of the mon-
astery of Sabas, where he was placed by his nncle,
St. John Damascene. Here he found St. Cosmas, who
contributed not a little to form his style — a thing not
difficulti for Stephen entered the monastery as a lx»y of
ten. He remained within these walls fifty-nine years.
Dr. Neale speaks of the Latin stanzas of "Art Thou Wea-
ry," as being " very sweet" — but his own renderii^ is
quite free. 'Hie original is ofthe eighth century. Stephen
was bom in 725 and died in 794, and this is the finest
of his hynms. Miss Sally Pratt McLean has used this

familiar hymn ui her story of « Cape Cod Folks." It
is the duet whidi George Olver and Beimy Cradlebow
sing together as they are mending the boat just before
Cradlebow's heroic death. Captain Arkell tells of it
thus : << By and by, him and George Olver struck up a
song. I've heem 'em sing it before, them two. As
nigh as I calcUate, it's about findin' rest in Jesus, and
one a askin' questions, all far and squar*, to know the
way and whether it's a goin' to lead thar straight or
not, and the other answerin'. And he — ^he was a tmk-
erin', 'way up on the foremast. George Olver and the

NOW ALL THE BELLS.

Eastbr Cakoi.,

i^ViiViiVVf#^MWf^

1. Al-le-ltt - ia! Al-le

2. Al-le-lu - ia! Al-le

3. Al-le-lu - iai Al-le

lu • ial Al-le • lu
lu - ia! Al-le - lu
lu - ia! Al-le-lu

.^ r

ia! Now all the bells are ring- ing^
! O has- ten we to meet him,
ial Still, Je - sus! we a - dore thee

pM j j JiH: JiJ^ j I f j ^ p I f f te

_ o welcome Easter Day, And we with joy are
With our companions dear. With love and awe to
With faith which may not iaU; Still as we kneel be •

sing - mg Our car • ol sweet and gay,
greet him, As he is draw-ing near;
fore thee, We hear thee say *< All hail I"

&, pif p r np' fjpfT f i r^p p \f F f f f I

lf.j | j-j-j^ | ;' Jj | J;Jj.J|J .j | JJ JJU [,'J

For Je - sus hath a - ris • en
Of old his friends were bidden
Thou, who art now de - scending

^

m

Firom Joseph's rocky cave.
To haste to Gal - i - lee:
To raise us up to thee,

Hath burst his three days' pris • on»
Still in his Church, all glo-rious,
An £ast-er-tide un - end- ing

JjJ f'F i: i ^,^Pi: i r^p^ ^ »

sst

And triumphed o'er the grave. Al-le- lu - ia! Al-le- lu - la! Al - le - lu - ia!

And triumphed o'er the grave.
Our ris - en Lord will be,
Grant us in heaven to see.

m

il-Ie - lu - ia! Al-le - lu

Al-le- lu - ia! Al-le- lu

Al-le- lu - ia! Al-le- lu

At

ia! Al-le - lu
ia! Al-le - lu
ia! Al-le-lu

ia!
ial
ia!

^4%

-^

^

p

rest of us was astern, and I'll hear to my dyin' day
how his voice came a floatin' down to us thar — chantin'
like it was — cl'ar and fearless and slow. So he asks,
for findin' Jesus, ef ther's any marks to foUer by; and
George, he answers about them bleedin' nail-prints,
and the great one in his side. So then that voice comes
down agin', askin' ef thar's any crown, like other
kings, to tell him by; and George, he answers straight
about that crown o' thorns. Then says that other voice,
floatin' so strong and cl'ar, and ef he gin up all and
foUered, what should he have — ^what now ? So George,

he sings deep o' the trial and the sorrowin'. But that
other voice never shook, a askin' and what if he held
to him to the end, what then should it be — ^what then?
George Olver answers, * Forevermore, the sorrowin'
ended — Death gone over.' Then he sings out, like his
mind was all made up. And if he undertook it, would
he likely be turned away?' * An' it's likelier,' George
answers him, < that heaven and earth shall pass.' So I'll
hear it to my dyin' day — ^his voice a floatin' down from
above thar, askin' them questions that nobody could
ever answer like, so soon he answered 'em for hunself."

FRANKLIN SQUARE SONG COLLECTION.

6t

OH, FOR A THOUSAND TONGUES

vt^ .— . — 1 1 1-.— I — \

Chaklss Wnunr.
Caxx. G. Glaskr. "Azmon/

for a thou • sand tongues, to sing My dear Re -deem - er's nraise:

:^

1. Oh, for a thou • sand tongues, to

2. My gra-dous Mas • ter and my

3. Je * susi the name that charms our fears.

sing
God,

My dear Re -deem - er's praise;
As - sist me to, pro - claim.
That bids our sor • rows cease;

-I ( 3 ^

The glo • ries of
To spread thro' all
'Tis mu • sic in

and King, The tri-umphs of His grace!
the earth a - broad, The hon - ors of Thy name,
the sin - ner's ears, 'Tis life, and health, and peace.

B

1^

fHf ^ ,'■' p I p p p p i p

sz:

321

4. He breaks the power of reigning sin.
He sets the prisoner free;
His blood can make the foulest dean;
His blood availed for me.

Hear Him, ye deaf; His praise, ye dumb.
Your loosened tongues employ;

Ye blind, behold your Saviour come;
And leap, ye lame, for joy.

ART THOU WEARY?

m

St. Stbphanos. 780.
J. H. Hopkins. "Nralb."

W=s

^

S^

±4

ZJOO

1. Art thou wea • 17, att thou

2. Hath He marks to lead me

3. Is there di • a • dem, as

Ian

to

Mon

id.

gmd.
Him,

dis

Art thou sore
If He be my
arch. That His brow a

tre^d?
Guide?
doms?

.^ ^ tt9- -f^ •^' &r bf^ 9S^ &9-

€ED

f^ J^i'^'^ '^^

After last verse.

«fer|gr

at rest."
His side."
of thorns."

"Come to Me," saith One, "and com • ing, Be
«In His feet and hands are wound-prints. And
" Yea, a crown, in ve - ry sure - ty. But

1^ ^r^ "^ , T^ "f^ tVa

A

men.

g^' P F ^p p^P^p p

i4 p

ttg ^

"73"

IZ2I

I

4. If I find Him, if I follow,
What His guerdon here?
" Many a sorrow, many a labor.
Many a tear."
j. If I still hold dosely to Him,
What hath He at last?
"Sorrow vanquished, labor ended,
Jordan passed."

GLORIA PATRT.

■zsr

6. If I ask Him to receive me.

Will He say me nay?
« Not till earth, and not till HeavcQ
Fass away."

7. Finding, followine, keeping, struggling.

Is He sure to bless?
"Saints, apostles, prophets, martyrs.
Answer, Yes." Amen.

^

:t=

s

-^

^

Ho • ly Ghost;
end, A - men.

-Cr-

Glory to be to the Father, and to

As it was in the beginning, is now, and ev

w^

-s-

^

the Son, And to the
er shall be. World without

p^t^ r '^ lip fp~p-

■«-ti

62

FRANKLIN SQUARE SONG COLLECTION.

There is evident piDof of the deep interest the high-
class makers took in endeavoring to advance the in-
terests of their art. For example, Stradivarius some-
times put the widest-grained wood on the fomrth
string side, feeling it was the weakest and needed the
open grain. Sometimes he put it on the first string
side. He was evidently trying experiments. But he
mostly adopted the former plan, no doubt correctly.
Again, they made instruments larger at the bottom
than at the upper part, gradually reducing in size and
depth, an experiment which observation has since
found to be correct. They also made instruments

thicker tinder the bridge to enable them to bear the
great tension to which they are subject; and many
other points show how perfect they became. They
left lilUe for modern ingenuity to discover. Even the
small Amatis, built when great amount of tone was-
not wanted and was not appreciated, are still most
delightful as solo instruments. Herein is discovered
the difference between violins of the three great masters
and others of the same name. If a small Nicholas-
Amati be compared with a large model, it will be found
that the quality is similar, but the quantity is greater^
and the instrument becomes more valuable. — Fearce^

UOW FAIR ART THOU

Moderato.

Mode t I )^ H. WKIDT.

Oh, at thy feet how hap - py, Heart's inmost song I raise,Whilst eve's ma - jes - tic

' fViU ger - ne dir mu F&s - sen sing* ick mein tief-stes Lied^ in - dess das heii* - ge

2. Oh, at thy feet how hap • py, Thy beau - ty I ad - mire, A pit - eous smile glided-

3. Oh, at thy feet how hap - py, In si - lent pain to die, But ra - ther would I

gp-* -^ -f- •{•• -^ ^«. ^«." ^ :?:•

gold - en light Thro' the arch'd window plays. In meas - ure moves thy love - ly head, Thy

A ' bend gold in^ 5 Bo - gen fenster sieht, Im Takt - te wogt dein schd-nes Haupt^ deiHr
o'er thy face; No pit - y I de - sire, Well do I know thou play'st with me. Yet

rise, my dear. And to thy bo - som fly. To press a thousand kiss - es On

WFi.

Frrt[i[ i T^^iFFr fFi^'ff^^>

sz

rfs^g i j ^J^^ffl J.J i JiJ'^^

heart doth lis -ten now; I lie be - fore thee sing-ing, I lie

Herz hdrt stil - le zu ; Ich a • ber lieg* und sin - ge^ Ich a

rest - less am I now. And lie be • fore thee sing • ing, And lie

thine en -chanting brow. Then, droop-ing down, and dy - ing. Yea, d'

S^

be - fore thee
ber lieg* und
be - fore thee
ing, and still

en -Chanting brow, i nen, droop-mg down, and dy • ing» Yea, dy - ing^ and stiU

1=

eq?

iH^iirri

3J

^=2-

i^ae

r^TTT

?2.

sing-ing. How fair, how fair, how fair art thou ? How fair, how fair, how fair art thou£
sin - ge, Wie scAon, Ttne schon , wie schon bist du ! JVie sc^on, wie schdn, wie sckon bist du /

^^

S2l

Ff Fff i f

rsi

I

Wie geme dir zu Fussen

Schau ich in dein Gesicht,
Wie Mitleid bebt es driiber hin,

Dein Mideid will ich nicht.
Ich weiss es wohl, du spielst mit mir,

Und dennoch sonder Ruh*,
Lieg' ich vor dir und singe,

Wie schdn, wie schOn bist du!

Wie geme dir zu Ftlssen

Stiirb' ich in stummer Qual,
Doch lieber spr&nge ich empor,

Und kttss' dich tausend mal,
Mdcht kiissen dich, ja ktissen dich

Einen l2jg lang immer zu,
Und sinken hin, und sterben,

Wie sch5n| wie schdn bist dul

FRANKLIN SQUARE SONG COLLECTION.

EVE'S LAMENTATION.

6S

M. P. KiKG.

r^j7 l ,^;•^ | ,. | j|,^^iM J|^^■^ljJ lJ fr

Must I leave thee, must I leave thee, must I leave thee. Par - a • dise? Thus

m*ff\^ fuf fiF fi^ptip p i pi^^ ^

leave the^, leave thee, na - tive soil; these hap- py, hap - py walks, these walks an<

mw^

~A^ Jr^^f.

^M

-^

9—m-

r r \ r r

^

jJii^J'j|>jjir^'JJujjiCTj3a^

leave the<

^^=s-

Yet must I leave thee, must I leave thee, must I leave thee, Par- a -dise? O-

I leav

B» f f f ip r-t»ffif F up 'p ip ^ 1 ^ ^

rj.u r ' t E :. n j .i'> J i;'ji;j, u i

flow'rs that nev-er will in oth - er climate grow, Who now shall rear ye to the sun?

P^TftW U

^- m m

:g, i

4 1 Ha-i ^-

i

N- » » g

3=N:

-fcrVi?

H j i v'?^ i :J: | .| J | ?^y ^ ^

?

I leave thee^

r-

cJ- ^ cJ ^

From thee, from thee how shall I part, how shall I part? Yet must ]

^-ip p.» i p^rTrf f\f-^m^ ^

§E

must I leave thee, must I leave thee, Par -

1m ^iS ff - ^ « Mt< 9 J-

^

a • dise, must leave thee, Par -a -dise?

p' - i rj m\n^\S. P|l I | l ^=^

::«=

:*:

u

FRANKLIN SQUARE SONG COLLECTION.

In the eeolc^c ages when there was no ear to hear,
you find the capacity for sound in all material things ,
no harmony, no music as yet, but only a note ready
to be brought out, and in the forming air ^a law of
vibration ready to turn the note into harmony, and
finally the ear of man ready to catch the harmonies
that his skill evokes, and behind the ear the soul
ready to praise God in the sounds and harmonies so
prepared from the beginning. Here is an orderly
sequence of steps and adaptations mounting contin-
ually higher — ^proceeding from God in creaton and at
last ending in hymns of praise to God the Creator.

The materialists are much ooncemed aboat fhe
possibility of an environment in case of a lutore life,
where and of what? they^ask. Well, hoe is an en-
vironment of possible emotion troflSCending presoit
knowledge, and so perhaps awaiting minds to feel it.
It is difficult to believe that God has put Himself into
creation in the form of emotional sounds and no ear
be made to hear them. If a part of creation comes
to a realized use in man, why not the whole? If
creation is the path between God and man by which
they come to each other, must not man journey along
the whole of it, even as God has done ? — Mtmger*

THE GOOD-BYE AT THE DOOR.

S. Glovsb.

J. £. CARPBimR.

iH\l,4^.i\\'\\l\ ^ \ i,l!^^u-ri\

I. Of all the mem'ries of the past That come like sum-mer dreams, Whose

2. But time and place have quite estranged Each ear - ly friend we knew; How

rain • bow hues still round us cast Their bright, — their bright, but fleeting beams ;
few remain, — how many changed,. Of those,^- of those we deemed so true;

Those

j^ Jf ^'r'.j'ljjg/'^ l j: j'j: J I H- -L I

dear • est, sweet -est that can be Of days gone long be - fore, Are

hap - py hours a - gain to me But mem - 'ry can re - store. The

s

rrrrnirrrrui-^

1 ^) J: J.ij;^= Ji,f j-^Jijj ^hH'- ^ \^ m

those that oft re - call to me The « good-bye,"— the " good-bye " at the door. Are

lingering thought will ev - er be The "good-bye," — the "good-bye "atthe door. The

Wi

ffcffi^ i f-r^^f i rri rrr ff fit

t \'Mn. M^^^^j^^ M^^\^}'y^\

those that bring to mind to me,
lingering thought will erer be,,

The " good-bye,"— the " good-bye " at the door.
The " good-bye,"— the * good-bye " at the door.

b r:pcf c^ i fprr- ^^:^m}MM

FRANKLIN SQUARE SONG COLLECTION.

65

A WET SHEET AND A FLOWING SEA.

> tf ..« n j ^i

Frsncr An.
Allan Cunningham.

1. A wet sheet and a 6ow-ing sea, A wind that fol-lows faiit, And fills the white and

2. '<Oh» for a soft and gen-tle wind!"I heard a fair one cry; But give to me the

3. There*s tempest in yon hom-ed moon. And lightning in yon dond, And hark the mu-sic,

\-^\\\i\%\\ym \ ^ I' /i^rn

fi^

rust - ling sail, And bends the gal • lant mast; And bends the gal • lant
roar • ing breeze, And white waves heav-ing high; And white waves heav - ing
mar - i • ners! The wind is pip - ing loud; The wind is pip - ing

-^ Melody with downward stem* to noUt.

mast, my boys ! While like an ea - gle free,
high, my lads ! The good ship tight and free ;
loud, my boys! The light -ning ibudi-es free;

A • way the good ship
The world of wa - ters
While the hoi • low oak

g^snt

TSl

-PTSZ

S»=

-^

>N ^hA

f -^-y^-^ J- y jJfl^JlgV jjj l Jj' ^

flies and leaves Old Eng - land on our lea. Oh ! give me a wet sheet, a flowing sea, And a
is our home, And mer • ry men are we. Oh! give me a wet sheet, a flowing sea, And a
our palace is. Our her - i - tage the sea. Oh! give me a wet sheet, a flowing sea. And a

Wf.* ji 'I J. J. \.,\>

rMUIH-MOT ^^.^UJuT'ill

wind that fol-lows fast, And fills the white and rust-Ung sail. And bends the gal -lant

^"»" i !g1:^lf 'g

v-s

i^

§=m

e^

t

fe

^AA

\m m m m :

1^ K U U

fcHfc

— ii» » » — m

— L> U u »

r

66

FRANKLIN SQUARE SONG COLLECTION. .

.PIERROT.

^ Modtraio. \

Wbathbrxt.
W. M. HuTCHiKsoir.

tf;jii;/j;;ii'NJiii.'Miji,';ij

1 "Piem)t!"1 "Pierrotl" 1 "PiOTotl"^

1 "Picrrbtl

1, "Pier - rot! Ker - rot!" Babette is call-ing sweet and low, "Pier • rot! Pier -

2. *'Ba - bette! Pier - rotl" The birds are call-ing sweet and low," Ba - bette! Pier -
"PierrotI" .^. -^- -^. .^-.^. -^-K^ ^ ^ "Pierrotl"

^

^^

pf l fffff^g^

wm

m^

ik.m.

*«■

trr

^. N <

tK;^,njJjjijJ^,j)j,niujjJ . i .

rot!" He rows across, he takes her hand, And then they float a- way, Be- side the si -lent
rot!" "Ba • bette," he heardthem as he passed, "Babette," his heart replied, The war is o- ver
"Piertotl*

B. y^giiaFtf f i g I g: gigf f f iF ^E ^^

meadow-land, ^ - to the dy-ing day: And on and on! the boat drifts on; To-morrow night he
now at last, He^came to find his bride. He sees.thebed of mar -i -gold, The wicket o-pen

M^ErPEtbFpi'i-^^ggfrir r rT i rrr

will be gone ! " Babette, the world is cold and wide !" She on - ly nes • ties to his side, " Oh,.

love, I care not what it be, If on- ly I can be with thee !" The poplais sigh, the moon is low. The

.1^ r-.f

kvfFFl'FF l ^^la'ffgnlllFtV//l' l FfcFe^

P^^^iui^ ^^*^i ^i i^3 n 6fi^^ i

, Good-bye,

wa-ters ech - o as they flow.

Ml. ^ p ^ r\^ p

Babette ! Good-bye Pierrot ! Good-bye, good-bye, Pierrot I'

g i f-fF i fKr^' i i'^^SS i g

'fc'b f l" 3«=fc

im W W

> I >

Pronounce Ba-M and Picr-ro.

FRANKLIN SQUARE SONG COLLECTION,

67

2 A*^''^' A /^ A /^ A /^

U I '^ I '^ • [eyes grow

as of old ; "Babette I" he cries, but where is she ? "Babette !" he listens tremblingly ; "Babette, Babctte !" his

\\m \ \ ^'^m \ \ ^ l}i \ i \n \\i\il

^ ijjiri'Ji" V^^^^^^ Jii 4^ Ji ?

dim, She never more will come to him. And what is left of long a -go? A lit- tie cross where

m

^flF!FFFF I Ill[Tl^gFg l F&Fg l ^'g

ifqr

lilies blow; Alas, Babette! Alas, Pierrot ! Alas, a-las, Pier - rot! A -las, a - las, Pier - rot!

Krrrg i rQT'FgFg'Ff^g i ^^ffl F^'^M ii

AS THE GOLDEN STARS.

Grrmam Air.

^^%li \ ^ j /;i cf^ i^^i ^^ rhfU^ m

1. As the gold- en stars of heav-en Love their a - zure home a- bove. As the ro - sy light of

2. As the rainbow shines re-flect- ed In the glass -y lake be -low. As the moonlight is .de ■

k ' lfprrrrrfffifftfif-ftfff

gi^^J x^^i ^M J;i, gj fi^JS

Mr

d ^ i

e • ven Greets the wea-ry world in love, As the fountains bless the filow-er, As the
tect-ed Shin-ing in the streamlet's glow. As the pur - pie clouds give warning Of the

I

-r r- -r-f-

\ }}\wm}\ i \ rm

^

p j; ; f i\^i j; i j i l, n ffX^J}i^ m

sunlight loves the bow - er, So allthingsofgoodthat be Ixx)k in peace and love to Thee,
sun be - fore the dawning, So allthingsofgoodthat be Are re - flect-ed back in Thee.

« — »- — m^

m

(t^^

68

FRANKLIN SQUARE SONG COLLECTION

In response to a letter of inquiry to Mr. S. Fillmore
Bennett as to the origin of the popular hymn, the
"Sweet By and By," he writes: In the year i86i I
became a resident of the village of Elkhom, Wisconsin,
the home of the composer, J. P. Webster, and shortly
after became associated with him in the production of
sheet music (songs) and other musical works. In the
summer or fall of the year 1867 we commenced woric
on the '< Signet Ring," a new Sabbath school music
book, afterwards published in Chicago. The ^ Sweet
By and By" was one of the songs written for that work.
Mr. Webster, like many musicians, was of an exceed-
ingly nervous and sensitive nature, and subject to
periods of depression, in which he looked upon the
dark side of all things in life. I had learned his

peculiarities so well that, on meeting him, I could tell
at a glance when he was in one of his melancholy
moods, and had found that I could rouse him from
them by giving him a new song or hymn to work upon.
On such an occasion he came into my place of busi-
ness, and, walking down to the stove, turned his back
to me without speaking. I was at my desk writing.
Presently I turned to mm and said, ''Webster, what is
the matter now ? " «* It is no matter," he replied; " it
will be all right by and by." The idea of me hymn
came to me like a flash of sunlight, and I replied,
" *The Sweet By and By ! * Why would not that make
a good hymn? " " Maybe it would," said he, indiffer-
ently. Turning to the desk, I penned, as fast as I could
write, the lines of the hymn as it is now sung. In the

WHEN WE ARRIVE AT HOME.

" Garden."
Jbremiah Ingalls.

ii0iA^^Miii^i ^ ^iiMl

ts^

I. TTfe

Lord in - to His garden comes. The spices yield their rich perfumes. The lil

2. O that this dry and barren ground, In springs of wa-ter may abound, A fruit -

3. Come, brethren, you that love the Lord, Who taste the sweetness of His word, In Je •

-r ♦

-ies grow and
- ful soil be -
•sus' ways go

thrive. The lil - ies g^ow and thrive ; Re - fresh - ing show'rs of grace divine,
come, A fruit -ful soil be- come; The des- ert blos-soms like the rose,
on. In Je - sus' ways go on ; Our trou - bles and our tri - als here.

m

rom Je - sus
When Je - sus
Will on - ly

&

mmu-^i^Mft^^

5^555

flow to ev - *ry vine. And make the dead re - vive. And make the dead re - vive.
conquers all His foes. And makes His peo - pie one, And makes His peo - pie one.
make us rich -er there, When we ar-rive at home, \\Tien we ar-rive at home.

m

ri'ii ^' i ' ni'i'rrir rf i rt^r ij j

sz^

meantime two friends, N. H. Carswell and S. E. Bright,
had come in. I handed the hymn to Mr. Webster.
As he read it, his eye kindled and his whole demeanor
changed. Stepping to the desk, he began writing the
notes in a'moment. Presently he requested Mr. Bright
to liand him his violin and he played the melody. In
a few moments more he had the notes for the four parts
of the chorus jotted down, I think it was not over
thirty minutes from the time I began to write the words
before the two gentlemen above named, Mr. Webster,
and myself were singing the hymn in the same form
in which it afterward appeared in the " Signet Ring."
While singing it Mr. R. R. Crosby, now a resident of
Richmond, Illinois, came in, and after listening awhile,
with tears in his eyes, he uttered the prediction, *'That

hymn is immortal." I think it was sung in public
shortly after, for, within two weeks, almost every child
on the streets was singing it. The " Sweet By and By"
was published in the "Signet Ring" in 1568. ITie
publishers of the book, Messrs. Lyon & Healy, Chicago,
heralded its advent by distributing a very Uuqge number
of circulars upon which selections from the work were
printed, among them the " Sweet By and By." These
circulars first brought the hymn to the notice of the
public and created the principal demand for the book.
Sometime in the year 1868, 1 think, the hymn was first
published in sheet music form. It is now published in
numerous collections of vocal music in America, and a
newspaper account says it is translated into various for-
eign languages and " sung in every land under the sun."

FRAXKLIN SQUARE SONG COLLECTION.

69

It is well that childhood and youth should be hi
Every life should begin in Eden, should have its blest
traditions to return to, its holy places on which an
eternal consecration rests. The dew of the birth of
each most hallowed, most human thought and impulse
withm us is of the womb of the morning, and there
is surely a literal meaning in our Saviour's words,
''.Unless ye become as little children, ye cannot enter
the kingdom of Heaven." The moments that set its
doors widest open show us this; at times, when the
great unseen world is nearest to us, the thought of
childhood will return, and at the sound of the ever-
lasting ccean, we stoop down to pick up the shells we
used then to play with. When a great happiness floods
our life, and lifts it far above its accustomed level, it

sets it down upon no peak or summit of ecstasy, but
brings us upon its wave some childish, trivial joy, some
song of home, some fondly recollected pleasure ; it fills
the heart with the sunshine of some long, golden after-
noon of holiday, or with the fireside warmth of some
long-deserted parlor. Do you remember how loan of
Arc, when crowned at Rheims, sees the kind, homely
faces of her sisters in the crowd, and is at once carried
back to the green valley, the silent mountain, the free
simplicity of her childhood's early days. All she has at-
tained since then seems dream and shadow. '< The even-
ing andj the morning make our day." — Tioo Friends,
Next to theology I give to music the highest honor.
We see how David and all the saints wrought their
godly thoughts into verse, rhyme, and song. — Luther,

THE SWEET BY AND BY.

J. P. Wbbstsr.

S. FlLLMORB BSKmCTT.

t/ With feeling. "^^

With/eeling.

1. There's a land that is fair - er than day, And by faith we may see it a •

2. We shall sing on that beau - ti - ful shore. The me - lo • di • ous songs of the

3. To our boun - ti • ful Fa - ther a - bove We will of - fer the trib - ute of

i^

^^

U \ r x -U t\i m

^

u p' & ' ^

cgtf=^

f:^iUil,i j*^:^ m

For the Father waits o - ver the way. To prepare us a dwelling place there.
And our spir^its shall sorrow no more, Not a sigh for the blessings of rest.
For the glo - ri- ous gift of His love, And the blessings that hallow our days!

:p:*:p:e3?:^^ ^«t. _ J ^:^» iff: :e:?t^ "

priiTni''fT i ^trrH i r i

By and by.

feT^ g 'gir g'g i ^ j.jl re ir^-' ^^

In the sweet by and by. We shall meet on that beauti - ful shore I

In the sweet by and by. We shall sing on that beauti • fill shore!

In the sweet by and by. We shall praise on that beauti - ful shore!

by and by.

by and by,

i

si:

i

^ I j i'-.^ iiM

B:

^

In the sweet
In the sweet
In the sweet

by and by,
by and by,
by and by,

We shall meet on that beau-ti - fill shore.
We shall sing on that beau-ti - ful shore.
We shall praise on that beauti - ful shore.

^^^^ifrfFFTiiTiirrte

cS|t=te

by and by, by and by,

By permission Oliver Ditson & Company, owners of copyright.

70

FRANKLIN SQUARE SONG COLLECTION.

• One of the saddest experiences of life comes with the
recognition of past and on-going changes which we are
powerless to mend or to hinder. The ruthless hand of
time leaves its destructive traces upon everything that
we love. We go away from the old homestead, and re-
turn with glad anticipations after a dozen years, only to
find that the well-remembered scene is no longer the
same ; that the ancient landmarks have been removed ;
that the grove in whose shadow we played has given
place to unpoetical brick and mortar. Old faces have
disappeared for ever; and those that remain have suf-
fered change. Even we ourselves have changed; and
we look into old comrades* faces with half-alien eyes.

The clasp of the hand is colder, and there is a ring of
disappointed longing in the voice. When we turn our
back once more upon the unforgotten past, it is with the
feeling that something has gone out of life which will
never be restored to it. It is in such moments as these
that one turns for comfort to that promise of the Book :
" I will restore to you the years that the locust hath
eaten. . . . And ye shall eat in plenty and be satisfied,
and shall praise the name of the Lord your God, that
hath dealt wondrously with you." And there is com-
fort in such a promise, for it i^ the promise of Him who
changes not ; and it means that even we shall one day
be redeemed from change, where youth is immortal.

WHEN THE SOFT TWILIGHT.

Modtrato t molio Ugaio.

R. Schumann.
J. E. Cakpkntbr.

rs. XM iff Modtrato t motto legato. ^ ^ 1^ i^ w

1 . Come when the soft twi-light falls And the meadow's bright green seems to fade,

2. Come when the shadows de • scend And the twi -light in- vites us to stray.

u u u '^ u w "^

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Come when the nightingale calls,' When the nightingale calls, Her mate in the depths of the
Come and our voices we'll blend. And our voi-ces we'll blend. In songs all too sweet to be

deep forest glade. Come when the leaflets fall light on the ground, Come when the moon-beams are
sung in the day. Come when the glow-worm is seen in the grove. There hand in hand 'twill be

• f-r.

hi'ih-ffg-f ['i!EH l ^1'^'f't'FF l F■^

fm ' i \ \J' \ nun \ ^ \ U'un \

danc - ing a - rounS, Come when the bat spreads his wings. Come when the nightingale
rap - ture to rove Down by the fountains and springs. Come when the nightingale

m

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^ ^ ^ ^ ^ ^ ^ ^

f^

molto rait. ^

^ ^ J^ ^ K moaoroii. p

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sings, When the nightingale sings, the nightingale ^ngs, Come when the nightingale sings.

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FRANKLIN SQUARE SONG COLLECTION.

n

THE STORM.

JOHK HuLUiH.
ASBLAIDB AlVNB PKOCTBR.

Can moto.

1. The tempest rag- es wild and high, The waves lift up their voice and cry Fierce answers to the

2. The thunders roar, the lightnings glare, Vain is it now to strive or dare ; A cry goes up of

3. Warm curtain'd wiis the lit • tie bed. Soft pil - lowM was the lit - tie head, The storm will wake the

wtffrS i f-^ i ri i i i rm ii l^b l

4-

-. I *, ad lib. a tempo prime, w ,

an - gry sky. Mi - se - re - re, Do-mi-ne! Thro* the black night and driving rain, A

great de - spair. Mi - se - re • re, Do - mi-ne ! The storm - y voi - ces of the main, The

child, they sa[d. Mi - se - re - re, Do - mi-ne! Cow*ring a-monghis pillows white, He

S

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ship is Strug -gling, all in vain To live up -on the storm - y

moan - ing wind and pelt • inp; rain, Beat on the nurs - 'ry win • dow pane.

prays, his dim eyes wild with fright, Fa-ther, save those at sea to -''night!

N^E i i ' gT^nHFF F i rFfU

A liHi* slmuer.

ad lib. ^ ^ -* '"w^ umver.

Mi - se - re - re, Do-mi-ne, Mi - se - re - re, Do - mi-ne. 4. The morning shone, all

ftiiffff i r'^Plfpf Flj:"/.] !! ,'^^^

I fj J;;; i j;j;g J. i . li ^^-^ Ji j;; J ^

clear and gay, On a ship at an-chor in the bay. And on a lit -tie child at play I

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hfr^ff^E i ^f^ E f t FF i f r 'i \\ \

ad lib. ^__^

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Glo - ri - a Ti - bi, Do-mi-ne ! Glo - ri - a Ti - bi, Do - mi - ne I

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72

FRANKLIN SQUARE SONG COLLECTION.

Retiung to a monastery, it is said, after the death
of his wife, Jacob Steiner, the noted Gennan violin
maker, there passed the remainder of his life. While
there he resolved to distinguish the close of his career
by the construction of some violins of rare beauty and
melody. This he accomplished by the aid of the
superior, who obtained for him some very fine wood,
out of which those most famous instruments known by
the name of <' Elector Steiners" were made by him.
These are the violins which by common consent most

entitle this artist to rank with the greatest masters.
They are of the very highest quality of the Steiner
tone, which has been described as '' a pure, ringing,
ethereal tone, comparable to that of a woman's per-
fect voice — a shape of ekguce^— studied finish in
every detail, and a diaphanous varnish of golden hue."
Such are the characteristics, says an enthusiastic ad-
mirer, of these last productions of Steiner. There were
sixteen of these violins, one of which he presented to
each of the twelve Electors, and the remaining four to

FINE OLD ENGLISH GENTLEMAN.

Quajt rtciiaifv*.

AVTHOB UnKMOWX.

^"M ' iJJJJJJj i JJi'J^ j:^*" '

1. 1*11 sing you an old bal - lad that was made by an old pate,

2. His hall so old was hung a - round with pikes, and guns, and bows,

3. When win -ter cold brought Chnstmas old, he oped his house to all,

4. But time, though old, is strong in flight, and years roUed swift - ly by,

n w fA t t g g gg e e i£ gg g

Of a

With

And,

When

ff j ;; j j j j j i .Ni'jj' jijj=i:^

poor old Eng-lish gen- tie -man, who had an old es-tate;
swords, and good old buck - lers, that had stood 'gainst many foes ;
though threescore and ten his years, he feat-ly led the ball;
au • tumn's fall - ing leaf fore -told this poor old man must die I

He kept a brave old
And there his wor - ship
Nor was the houseless
He laid him down right

xU[llUl \ lUi ^m

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i^Errfc

a 3 i a

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mansion at a boun - ti - ful old rate, With a good old por - ter to
sat in state, in doublet and trunk-hose, And quaffed a cup of good
wan-der - er then driv - en fix>m the hall. For, while he feast - ed all
tran-quil - ly, gave up life's latest sigh. While heav - y sad - ness fell

re - lieve the
old wine to
the great, he
a - round^ and

1^

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old poor at his gate, Like a fine old English gen

warm his good old nose. Like a fine old English gen

ne'er for - got the small, Like a fine old English gen ■

tears bedewed each eye, For this good old English gen

/ts ^ ^ —

tie-man, all of the old - en time,

tie-man, all of the old - en time,

tie-man, all of the old - en time,

tie-man, all of the old - en time.

k ggg eF ^-^ ^^^fF-fF i n aEr

the Emperor. Unfortunately thirteen of these appear
to have been lost, and the- remainder have all been in
royal hands — the Empress Maria Theresa, the Duke
of Orleans, and Frederick William of Prussia — who
have presented them to eminent foreign violinists.
Many people foolishly imagine that any violin may
be made to produce as sweet sounds in the hands of a
skilful player as a high-class instrument. This is a

great mistake, and a convincing proof of its fallacy
may be dravm from the fact that all the great soloists
play upon high-class violins. They did this also at a
time when they would gladly have saved the expense,
had it been possible. Joachim played upon a Stradi-
varius, Vieuxtemps on a Guamerius, Ole Bull on a
Guamerius and an Amati, De Beriot on a Magini,
Paganini on a Guamerius, and Ernst a Stradivarius.

FRANKLIN SQUARE SONG COLLECTION.

OUR WAY ACROSS THE SEA.

n

1. Home, fare thee well! the o - cean*s stonn is o*er, Thewea - xy pen

2. We wreathe no bowl to drink a gay good-bye For tears would fall

3. See where yon star its dia-mond light dis -plays,.... Now seen, now hid

non
un -
be-

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woos the sea-ward wind;
bid - den in the wine;
hind the swelling sail;

Fast speeds the bark, and now the less'ning shore

And while re - fleet - ed was the mourafiU eye,

Hope rides in glad - ness on its streaming rays,

The

S

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ir^7 JJ 1 JJ J1JJ;;lj ,^(|J :»j1jjj J l 4^

1 'v.^.^'^n

Sinks in the wave, with those we left be -hind. Fare thee well! Land of the

spark - ling sur - facee*en would cease to shine. Then fare thee well! Farewell once
And bids us on, and bribes the fav'ring gale. Then, Hope, we bend In joy to

by^

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free; No tongue can tell the love I bear to thee,

more; The o - cean's swell Now hides my na - tive shore,
thee; And care -less wend our way a - cross the sea.

Fare thee

Then fare thee
Then, Hope, we

well! Land of the free. No tongue can tell the love I bear to thee.
well! Fare -well once more. The o - cean's swell now hides my na - tive shore,
bend In joy to thee, And care-less wend our way a - cross the sea.

7.4

FRANKLIN SQUARE SONG COLLECTION.

The truth that music is for relieion is clearly evi-
dent in the fact that nothing calls for it like religion.
Men fight j)etter under the stir of music, but they can
fight well without it. Business does not require it.
Pleasure craves it, but the voice and the zest of young
life supply its lack. It is not i^eeded in the enacting
of laws, nor in^the pleadings of courts. It might be left
out in every department of life save one, and nothing
would be radically altered; there would be lack,
but not loss of function. But religion as an organ-

ized thing and as worship, coidd not exist without it.
When song dies out where men assemble for worship,
the doors are soon closed. When praise is repressed
and crowded aside for the sermon, the service sinks
into a hard intellectual process for which men do not
long care. Eloquence and logic vrill not take its
place — why, it is difficult to say until it is recognized
that music is the main factor of worship— a fact ca-
pable of philosophical statement, namely: Worship
being a moral act or expression, it depends upon the

ONE OR TWO.

con esprtst.

W. T. Wrighton.

fni\i-Al^i^m- l\ \ \^i ^ \ m

^

1. If you to me be cold, Or I be false to you, The world will still go

2. If all the page be read. The book be finished through. Still will the world read

3. We who to - geth-er sailed Sink from each oth-er*s view — The world will still sail

m

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m

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p=^

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i. Just as it used to do, — The clouds flirt with the moon. The sun still kiss the
, Just as it used to do. For oth-ers dear will con The pa-ges we have
on. Just as it used to do! We reck -on by the stars That shine from different

on,
on

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sea; But the sun will shine less bright, And the cloudsseem not so fair. So 'tis wis - er to be
passed. Which o - pen not to one. But two read to the last. So 'tis wis - er to be
skies — Does gain then come to you That I have lost my prize? So 'tis wis - er to be

m }*fifztt\fAr'i F Fi f! ^:^ip: ^

kind, And bet-ter to be true. And let old love go on Just as it used to do.

^

[ 'ap' U ffr \ rj: : i ^ ^

w

rhythm and harmony of art for its materials; they
are the siibstances — so to speak — ordained by God
and provided in nature out of which worship is made.
And so fhe church in all ages has flowered into song.
It takes for itself the noblest instrument and refuses
none. It draws to itself the great composers, whom
it first attunes to its temper and then sets to its tasks,
which invariably prove to be their greatest works. In
no other field do they work so willingly and with so

full exercise of genius. There is a fireedom, a ful-
ness and a perfection in sacred composition that are to
be found in no other field. In all other music there
is a call for more or for something different, but the
music of adoration leaves the spirit in restful satisfac-
tion. Dryden, the most tuneful of poets, divided
the crown between old Timotheus and the divine
Cecilia, but surely it is greater to •* draw an angel
down " than **lift a mortal to the skies." — Munger,

FRANKLIN SQUARE SONG COLLECTION.

75

MUSIC AT NIGHTFALL.

C. Jbfpbrts.

SiDNST NbLSON.

f'f^ i J j.ri'r;j i ;j'tyi^ , i ^.,Nr i 'J4^ ii

1. I hear not a foot-fidl. There is not a tone; Oh, greet thou mine ear With a

2, The song that hath cheered me Shall ncv-er de - part, Tho* it pass from the ear It will

twif i fgf i gF^f i ff^ l f SSig g g i f If

soncr of thine own. There is not a foot-fall. Nor voice save thine own. But nev - er seem*

song of thine own. There is not a foot-fall. Nor voice save thine own. But nev - er seemed
dwell in the heart. In sun-shine or sad-ness, In good or in ill. The heart thou hast

mu - sic So sweet in its tone. Pour thy dear mel - o - dy Light-ly a - long;

welcomed Shall beat for thee stilL To list to thy mu -sic I'd leave the gay throng;

Love wakes the lay. And my heart's in the song. What has earth dear- er in pal - ace or
Xx)ve wakes the lay, And my heart's in the song. What has earth dear- er in pal - ace or

grove, Than mu - sic at night - fall From lips that we love? Mu-sic at

t')*f Mif.\f.?.M ff i r A}.t m

citSz

Ckarui. . ^ -<'

jj i Jj-r i Jj i /j.-r i rrii r n, '' h

f

night -fall, Mu-sic at night -fall, Mu-sic at night- fall From, lips that we love?

** Or Soprano and Alto, in turn, may ung thes* three words, closing with Chorus.

76

FRANKLIN SQUARE SONG COLLECTION.

STAY, MY DARLING, STAY.

(BLEIB BIE MIR.)

A. Rkicuasot.

Qm fsprest,

1. Now the day

2. Canst thou thus

1. Wie die Biam

2. HaV ge • llebt

is slow - ly wan- ing; Evening breez • es soft-ly, soft - ly

unmov'd be - hold me, Still untouched by love, by love so

lein draussen zit • tern In der A - bend - Iflf • - - te

dich oh - ne En - de Hab' dir nie ein Leid ^i ge

rviJlFF i r-fTfn F'F'F ElP ffP ff:^

ifA j,^^>jjfjJJillfrj^j;i8' iM%\^

moan; Wilt thou ne*er heed my complaining? Canst thou leave me thus a - lone? Stay with

deep ? Nay, thine arms more closely fold me, And thine eyes be - gin to weep I Stay with

wehn Und du willstmir'sHerzverbit -tern, Und duwillstschon wie - der geh'n. Bleib bei

than Und du driickst mir still die H&n - de Und du ftngst zu wei • nen an. Wei - ne

i

\ m \ m \} wr ^^

V(W^

p

|_^ I N I fc. ' nnpocorU, unpoeo.

me, my dar • ling, stay, And like a dream thy life shall pass a -way; Stay with

mir undgeh'nicht fort In mein-em Herz-en ist der schOn • ste Ort. Bleib bei
nicht undgeh'nicht fort In mein-em Herz-en ist der schOn • ste Ort. Wei - ne

[fV i , F' F I F g rftn^ ^

piu cres. crts

me, my dar-ling, stay. And like a dream thy life shall pass a - way, like a -

mir undgeh'nicht fort In mein - em Herz-en ist derschdn-ste Ort,., • der

nicht undgeh'nicht fort In mein - em Herz-en ist dersch5n-ste Ort, ^ der

,>A c?ccctfftTt \ f :^f (f r nft m

i^jr^:

Poco antmato.

•J/ij ; i jjj j ;

S=K

"X"tT

Jl=f:

dream shall pass a - way. 3. No re • gret shall e'er at
schdnste,derschdn • ste Ort. 3. Oh, da drau - ssen in der

tend thee,Ne*ershall
Fer - ne Sind die

cres - cen - do.

- ^'^' Jijrj f

i=^

^^

w==

thme eye;

-*^

es

sor - row dim thine eye; 'Gainst the world's alarms to
Men - schen nicht so gut Und ich g&b' fUr-dich so

fend thee, Glad -ly,
ger - - ne, Mein

y % ^-^-LJL^.H^Hg^

■ « -r -r tra .-^' r-rr^ T T r

tp-r X*^i> | g i

FRANKLItf SQUARE SONG COLLECTION.

77

proud -ly will I die Stay with me, then, dar - linff.

proud -ly.....' .« will I die

Le • - - ben und mein Blut

Stay with me, then, dar - ling,

Bleib bei mir und geh* nicht

stay, And like a dream thy life shall pass a - way, Stay with me,

fort, In mei-nemHerz-en ist der schdn - ste Ort. Bleib bei mir

my dar - ling
und geh' nicht

f^

\ [H\[[ [ i rF-F^ ^

s

f\, iU^AjXi Jj i \ [Mfff^J4'^ ^

stay, And like a dream thy life shall pass a - way, shall pass. .
fort, In meinem Herz-en ist der sch5nste Ort, der schon

a - way.,
ste Ort...

g^

mf^{.l{.^r-^'i^f-w^^^^

V, i '^-^'^ i

SONG OF THE CHILDREN.

W^2 J i \ PBM

^f^

English.

e Jg' aLg

r-

1. Once was heard the song of chil-dren By the Sa - viourwhen on earth,

2. Palms of vie - to - ry strewn around him, Gar-ments spread be • neath his feel,

^

Joy - ful in the sa - cred tern - pie, Snouts of youth -ful praise have birth;
Proph-et of the Lord they crowned him, In fair Sa- lem*s crowd -ed street.

g^

^

m

^=4:

^

i j'",! ji'i' i \;/L ^^.n^^i^''iiii i

And ho-san-nas, and ho-san-nas, Loud to Da - vid's Son break forth.

vid's Son break forth,
of _ chil-dren greet.

^

And ho- san - nas, and ho - san - nas.
While ho • san - nas, while ho • san • nas,

K _ ) 1 4_

Loud to Da
From the lips

^ P i t} Is; rf f r

.3. God o'er all, in heaven reigning.
We this day thy glory sing ;
Not with palms thy pathway strewing.

We would loftier tribute bring.
«Glad hosannas, glad hosannas
To our Prophet, Priest and King.

4. O, though humble is our offering.
Lord, accept our grateful lays !

These from children once proceeding
Thou didst deem " pefected praise."

Now hosannas, now hosannas,
Saviour, Lord, to thee we raise.

y8 FRANKLIN SQUARE SONG COLLECTION.

GOING TO MARKET.

Louts Dirhl.
Haroxj) Wykh.

^^

¥m

Con gspress.

1. She was standing by the wick-et, and she droop'd her pret - ty head, «I am

2. Ma-ny mer-ry words were spok-en, and the sun • light round them fell. But at

^i m m ^ ^0 m.

s

^EM E[ Eg l E[ EB a T:^l ^:

^\'JiUXuUi \ UU \ i tl \ if.'tl

go-lng to the market," with a lit* tie sigh, she said, "And the bas-ket is so
ev - en, when re - turning, he had something more to tell, " Oh I the road of life we

k'lpPfp i pgfMTfrf i f FFi^^^

poco rit.

m

heav-y, and I think that it will rain. And the road is long and lone - ly thro' the
trav - d, has its burdens we must bear. And the road is long and drea • ry, will you

SE

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W

^^

k k

i^ U

if i -J / f.^ \ f\' \ ' I ' J ^ \ ^'^"^ fi ^

cop - pice and the lane!*'

wish me with you there?"

With a ten • der glance he
Then her dim • pled dieeksgrew

m

rrr i fTf .ult i ^ ^

y,>jjj.r i jrji-/:ij jj i jHK -^-^'

answered, as her troubled look he met, "I am sure it will be wea-ry, and it
ro - sy, as the sun - set in the west. And she answered, look - ing shy • ly at the

tjij, ^!!^ i ^ fFf i ^ g g ' E E E V ^

pocorU

4-

aiem^.

j JJijJJ'. - ^.J

-3^

might be ver - ry wet, And the hay is hard - ly rip - en*d, so I-

lil - ies in her breast, ** You were kind to come to mar - ket, and you

■ — M^ L^ U U T

0. m

U i^

^^

FRANKLIN SQUARE SONG COLLECTION.

79

fiUhl J'41^;J'JJl^,rJvJ|-rg i^

hay-ii*tmuch to do. And if you will let me, Jen-nie, I should like to go with
al- ways tell me true. So I think TU have you, Donald, for the oth - er jour-ney

kiViFFfflf fr i fff i ' i [ff i ' i ff ^ f

pccoapocorii.

III' j iiiti iii" ^"3f i r^' j j i o ii ^

you, And if you will let me, Jen - nie, I should like to go with you."
too. So I think I'll have you, Don - aid, for the oth • er jour • ney too/*

titi,p tf i ffff i ff g f i ,! f.^l g lf l 5

Andantt cam expreti.

J iJ I fi j

4=i

P-l^.L l ^-^JljjU ' Jj i rj l JiUJ'Ji!

«« You and I to - geth • er, love, Nev - er mind the weath - er, love. You and

kii'!,ilF>lP riFf l pFp i P|.npTFl^

^^

\\,\.A\' P I 'J' rJ J I j; y iij. 1

^

to - ge

-geth - er, love. All the way, all the way. You and I to

fff'f^ if-Hp f ip' i p ^p ^

^

^

^

p I J '"J

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geth - er, love, Nev - er mind the weath -er, love, You and I to -

^

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geth - er, love, All the way, all the way, way, all the way.**

Jfg* ft

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So

FRANKLIN SQUARE SONG COLLECTION.

BID ME GOOD-BYE,

Con espress.

atew^.

F. Paolo To«Tt.

F. E. WSATHBBLT.

@@

1. If in your heart a cor - ner lies that has no place for me,

2. Man'sloveis like the rest - less waves, ever at rise and fall, The

arrr i p F i r ry piP r i p p i p: ^

You do not love me as I deem that love should ev - er be;.,
on - ly love a wo - man craves, it must be all in all..

Is there a
Ask me no

^

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sin - gle joy or pain, that I may nev • er know? Take back your love, it
more if I re - gret; you need not care to know; A woman's heart does

Migite M \ ^

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t

jj i 'j j. i ,fi,irjjj i jj*ij i j

IS

is in vain, bid me good-bye and go You do not love me, no!.

not for -get, bid me good-bye and go You do not love me, no!.

& p ff. if f n p £ i p^pr r s ^

f

f iii^4 m:ku^i\f, f\pr^

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bid me good-bye and go..

^E

: i (.': i p»ri

Good-bye, good-bye, 'tis bet • ter so, Bid me good

^

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. *!*• r=== *T' I I I . 1 I 1^ I "**■" I I I ■ I I

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b>e and go..

You do not love me, no!..

Bid me good -bye and

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T

FRANKLIN SQUARE SONG COLLECTION.

8x

go, Good-bye, good-bye, 'tis bet • ter so, Bid me good-bye and go,

^

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ra. fPV

Jtjb^

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go,.

^^p

Bid me good-bye and go

Py rit.l^Un.

Good-bye, bid me good-bye aud go.

'if4fprf i nN»/ i F i v:irj -n ,?7 F i rij;.^ i i i

•AUTUMN LEAVES.

9 . An^'-^f^'.

Charles Dickcms.

kf,H:Jj-ji.i.;i,iiiii i ,^ i J.;j.' i .i.;ja

X. Au-tumn leaves, autumn leaves Ce strewn arouid me here; Autumn leaves, autumn leaves. He

X. Au-tumn leaves, autumn leaves bestrewn around me here; Autumn leaves, autumn leaves, How
2. Y^thered leaves, withered leaves, That fly be - fore the gale ; Withered leaves, withered leaves, To

10 W^

sad, how cold, how drear! How like the hopes oTchildhood^s day, Thick-clust'ring on the bough ; How
tell a mouinful tale Oflove once true, and friends once kind, And happy moments fled, Dis

like those hopes is their decay, How faded are they now ! Au-tumn leaves, autumn leaves Lie
pelled by every breath of wind, For - got-ten, changed, or dead. Au-tumn leaves, autumn leaves Lie

k^p]:fffippf f Fp:f:f l |::; i u.b^f i rFf:?

,fi nj, ii ■ \ ^-uui\ \ 1 1 , 1 "%'¥!■. I

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strewn a • round me here ; Au • tumn leaves, autumn leaves, How sad, how cold, how drear !

Tff f i"p

V-4

ir zu L i nu r r i :.*n

83

FRANKLIN SQUARE SONG COLLECTION,

English collectors, with that splendid contempt for
cost which distinguishes them, allow no fine instru-
ments to leave the country if they know it, and the
consequence is that at the present day, and for some
time past, England ranks first in the number and
value of the Cremona violins she possesses. Next
comes France, which has some able connoisseurs;
then Russia and Germany. Italy, strange to say, has
suffered them all to leave her, and thoueh the native
country of Stradivarius and Guamerius, it is doubtful

whether other nations have not attracted zSl the finest
instruments out of her own possession. The great rise
in the value of these extraordinary instruments is no
doubt due to the fact that they were built very strong
in wood, the effect of which would be to depreciate
the tone when they were built, but which — now that
time has ameliorated them and the wood has become
capable of free vibration — ^has refined the quality and
increased the tone. Fifty years ago a Guamerius of
the best time might have been bought for one-tenth of

GREEN FIELDS OF AMERICA.

^ 1^ N

Mast O'Nsil.

I . Let us go to the land where the green fields are blooming, O - ver the wa-ter, lar, far away, "Where the

1 . Let us go to the land where the green fields are blooming, O - ver the wa-ter, far, far away. Where the

2. Let us go to the land where the green fields are blooming, O friends of our youth, we bid you adieu ; And

3. Afar to the land where the green fields are blooming ! KaSileen,my darling, the ship's by the strand ;We'II

bon-ner of freedom o'er us will be waving. Where all should be joy -ful, happy, and gay. We'll
oh, while our footsteps are far distant roaming, Dear ones of our kindred we'll oft think of you. Then
cross the great ocean, 'mid billows all foaming. All perils and dangers we've learned to withstand. Then

_ff^fffirrrpg:Sipggr pipg^g

^

fiiifK{\.PA^lMmiH

; We'll

take a last look on the home we are leaving, And sigh for the fate of our own native shore ;
bear us a - way to the land of the stranger, The home of the pilgrim, the land of the free; Cheer
cheer up, my loved one, let sorrow no longer Dim the fond eye that once beamed with light. There's

go to the land where the green fields are blooming. The home of the stranger, our new home, Astore !
up, my own Kathleen, we'll brave every danger, And go to the green fields far o - ver the sea,
plen-ty, they say, in the land where we're going. The fields of A - mer - i - ca e v - er are bright \

Mitt f

mf!ffiffff^'^r]7]-^gfiff:fr ii [

its present cost, and they are yearly increasing in value.
There is no violin maker now who does not put,
whether into the instruments he has to repair or those
which he makes, a much stronger bar than those which
were employed by the great makers themselves. They
must have felt the necessity of doing this, or they
would not all act in'this way. Now what is the reason
of this mode of working? I have seen in the hands
of rich amateurs, several instruments which have been

preserved with a religious care, absolutely in the form
which Amati and^Stradivarius had given' to them. The
bridges of these violins had only an inch and a fraction
of height above the belly, while now bridges have a
height of an inch and three-eighths. All judges concur
that the pitch having been so greatly raised since the
old instruments were built, a stronger bar has been
found necessary, to counterbalance the increased ten-
sion of the higher bridges. — Rearers " VioHn Makers,^*

FRANKLIN SQUARE SONG COLLECTION.

I'LL HANG MY HARP ON A WILLOW TREE.

83

Old English Song.

fuhiiuM a JN j jfi-'j i

1. I'll hang my harp on a wil

2. She took me a - way from my war

3. Then I'll hide in my heart ev - 'xy sel

4. But one gold - en tress of her hair

low tree, I'll oflF

like lord, And gave

fish care; The hope

1*11 twine In my

to the wars a •

me a silk • en

of my life I'll re -

hel-met's sa - ble

m\\ \iiii\\^ i^ \ \ \\\i^

A i>

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1

fl'"Rr ^ r u_! 1

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1=^

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gain;
suit;
ognj
plume,

4^4. ^ MS9.

My peace - ful home has
I thought no more of
When smiles shall ereet
And then on £e field

M^^ » — ■• '»■ '"^ "-

no charm for me. Hie bat - tie
my mas • tor's sword When I played on
the brid - al pair, I'll has - ten
of Pal • es • tine I'll seek an

1 #n--* *

r

- field no
my mas-
to give
ear - Iv

Mtit F' P * ■ — 1

■— «M— if-r

■ — c —

■ — g Br — tr^

= — xr\

P 1 1 L 1 = —

, r 1 r 1

i — ^

1 — p g|i — K — 1

1 b_|.

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r

^ P w

w

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fi'-AhHn^f ^

pain; The La-dy I love will soon be a bride, With a di • a-dem on her

ter's lute; She seemed to think me a boy a-bove Her pag-es of low de-

them mine; I'll laugh and I'll sing tho' my heart maybleed^Andril waScin the fes-tive

doom; And if by the Sar-a-cen's hand X fall Mid the no - ble and the

if'LJ^ijjjjv.ni ii ii ^vv^ gi

brow,
gree.
train;
brave;

Oh! why did she flat-ter my boy - ish pride, She's go-ing to leave me

Oh! had I but loved with a boy - ish love, It would have been better for

And if I sur - vive it I'll mount my steed And I'll oiT to the wars a-

A tear from my La - dy - love is all I ask for the ynx- rior's

r;i:V i JdJ^'^idjijgV7^'^i^i:i

now,
me,
gain,
grave,

Oh why did she flat-ter my boy - ish pride. She's go-ing to leave me now.
Oh! had I but loved with a boy -ish love It would have been better for me.
And if I sur-vive it I'll mount my steed And I'll off to the wars a - gain.
A tear from my La - dy - love is all I ask for the war -rior's grave.

84

FRANKLIN SQUARE SONG COLLECTION.

Said the boy after a pause, "I have never lived
amongst, or seen anything, since I was bom, but what
was natural and real — the forests, the fruit-trees in
blossom, the gardens, and the flowers. I have never
heard anything except of God — of the wretchedness of
sin — of beautiml stories of good people. My grand-
fether, when he was alive, used to talk to me, as I sat
'With him at his charcoal-burning in the forest, of my
^forefathers, who were all honest and pious people. * I
'-shall then find all my forefathers in Heaven?* 1 would
-say to him. * Yes, that thou wilt ! We shall be of high
nobility. Do not lose this privilege.* If I lose this
privilege, how sad that will be! But here, in this
palace, they think nothing of these things — ^instead of
nymns they sing the strangest, wildest songs, so
strange ana beautiful that I lear and tremble at them
as if the sounds were wicked sounds. I was very

happy in my village outside the palace |;ates. I had
none of these things, I only taught the htde peasants,
yet I was happy. From morning to night the path
was straight before me — a bright and easy path, and
the end was always light. Now all is difficult and
strange. Since I passed through these gates with the
golden scrolls, all goes crooked and awry; nothing
seems plain and righteous as in the pleasant old days.
I have come into an enchanted palace, the air of
which I cannot breathe and live, I must go back."
**No, not so," said the princess, <'you are wanted
here. Where you were you were of little good.
There were at least others who could do your work.
Here none can do it but you. They never saw any
one like you before. They know it and speak of it.
All are changed somewhat since you came." Mark
looked sadly before him for some moments before he

ILKA BLADE O' GRASS.
4

*rov-i-dence,forProv-i-denceis kind. And bear ye a' life*sch

JOHK WiLSOH.

Jambs Balijintims.

■ ■ =1—1-

t

S

=5=*

'^=i^

1. Con - fide ye aye in Frov-i-dence.forFrov-i-denceis kind, Andl>earye a' life's dianges wi' a

2. Gin teft'o' Aiends, or cn>ss'd inlove, as whiles nae doo't ye' ve been, Grief lies deep hidden in yonr heart, or

3. In Ung, langdayso' simmer, whenthe clear and dudless sk^ Re - fu-ses ae wee drop o' rain to

4. So lest 'mid Fortune's sunshine we should feel owre proud an' hie, An' in our pride for-get to wipe the

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calm an' tranquil mind ; Tho* press'd an* hemm*d on ev'iy side, hae faith air ye'll win thro' For ilka blade o*
tears flow frae your e*en ; Believe it for the best, an* trow there's gude in store for you, For il - ka blade o*
Nature parch'd an' dry. The genial night, wi* balmy breath, gars verdure spring anew, An* il - ka blade o'

tear frae poortith*s e*e ; Some wee dark cluds o' sorrow come, we ken nae whence nor how. But ilka blade o*

- (•■ j^'^.l"^ f* l.(^ r* m f .^ — .r^ ^ tP m gji r

^^

grass keps its ain drap o' dew, For il-ka blade o* grass keps its ain drap o' dew.

m m m m

fftffFf ^

^ff

said, <' Even if it be true what you say, still I must go.
It is killing me. I wish to do good and right to ^1;
but what good shall I do if it takes all my strength
and life? I shall ask the prince to let me go back."
« No," said the princess, " not that — ^never that. It is
impossible — ^you cannot go back. What is passed
can never happen again. It is the children's phrase,
*Do it again.* It can never be done again. You have
passed, as you say, the golden gates into an enchanted
world; you have known good and evil; you have
tasted the fruit of the so-called Tree of life. You
cannot go back to the village. Think.'* Mark was
silent for a longer space £is time. His eyes were
dim, but he seemed to see afar off. " No," he said
at last, **it is true; I cannot go back. The village,
and the school, and the children have passed away.
I should not find them there, as they were before. If

I cannot come to you, there is nothing for me but to
die.'* "The Pagans,'* said the princess, "the old
Pagans, that knew their gods but dimly, used to say —
< The God-beloved die young.' It has been said since
by Christian men. Do not be afraid to die. Instead
of your form and voice there will be remembrance
and remorse; instead of indifference and sarcasm
there will be contrition; in place of thoughtless kindli-
ness, a tender love. Do not be afraid to die. The
charm is working now; it will increase when sight is
changed for memory, and the changeful irritation of
time for changeless recollection and regret. The body
of the sown grain is transfigured into the flower of a
spiritual life, and from the dust is raised a mystic
presence which can never fade. Do not be afraid to
die." Mark walked slowly back to the palace. He
could not think; he was stunned and bewildered.

FRANKLIN SQUARE SONG COLLECTION.

85

THE BIRDS MUST KNOW.

Hhlbn Huht.
Arbor Day Song.

te

1. Th^ birds must know ! Who wise - ly sings Will sing as they, will sing as they; The

2. Then late at night, when by his fire The trav* - ler sits, the trav - *ler sits. By

f j/J J' l J iU] i ,\ ^ i , ,i ^|. ^ 1

com - mon air has gen - 'rous wings, Songs make their way. No mes - sen •

snatch -es thro' his wea - ry bndn The sweet song flits! When next he

s

F b i r EF' i ^ t^' i ' yi ^

-m — m.

■=1e:

ta=t:

FgfgE i HH i J irfeir "w \\

E

ger to run be - fore. No men - tion of the place or hour, No wait - ing
goes that road a • gain An emp - ty nest will make him sigh, *<}ust here I

^M. }}SM

I

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r zr z

rr^

p=»

'^-■^■f-n i j jjjijjjji , i ii. u. b

^

^

till some sound be - trays A list'-ning ear, a list'-ning ear; No diff' • rent
heard, in pass - ing by. That sweet bird sing, that sweet bird smg/' But while he

rrrari'ari'

i

■ 1 i »

S^¥

V

I ff >'i' F g Tg g H -r^ ^ Hc rr g i J''J'«^

voice, no new de - lays. If steps draw near, if steps draw near. « What bird is
sighs, re - mem - ber - ing. The lit - tie bird is borne a - long. And oth - er

^JJ^JJlJ J J J l^

t»F

^^=X=

that? Its song is good." And eag - er eyes peer thro' the wood,

men with wea • ry feet The sim - pie strain are find - ing sweet!

86 FRANKLIN SQUARE SONG COLLECTION.

STILL so GENTLY O'ER ME STEALING.

Allegro MoiUrato.

V. BSLUNI.

From " La Sonnambula."

i|,". ^,j i .i,ng,r; i i; j:L i jjj;.g ig;L^

^

\ ^

Still so gent-ly o'er me steal -ing, Mem'r>' will bring back the feel-ing. Spite of
Ahlper-che non pos - soo-diar - ti in - fe -del com' io vor - re - f, Ak! del

f^nf^^^ \ Vf. m\^tvUrftt^ i

E

4-0-*-

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^m

all my grief re - veal - ing
ful - to ancornon se - i

That I love thee, that I dearly love thee stilL Tho'some
can- eel' la - ta, can-eel - la ' ta del mio cor^ Fossa un

hffff i rt- a i FrrFfFffir.»F'gi

oth - er swain may charm thee, Ah ! no oth - er e'er can warm me, Yet ne'er

< altro ah ! possa a - mar • ti qual fa - mo que-sf in ' fe - - li - ce, Al - tra

rrfun- vi'i \ ^ ^

^m

^ m\iif.i J j gj ^P^^i1V l j.j ^^

fear, I will not harm thee. No, thou false one, No, no, I fondly love thee still. Ah ! ne'er fear, I will
vo ' too tra- di - tri - ce^ no, ak ! non te - mer, non te-mer dal mio do • lor, al - tro vo - to non te -

Wt# !■

ffrifgfgfff i gfgEggf i l^Fgff

vvvv

-^ <^ "-S Lento.

not harm thee ; ne'er fear, I will not harm thee, No, false one, No, I love thee, I love thee, false one, still.
mer, non te-mer dal mio do - lor, al-tro vo-to ah! non te-mer, non te-mer dal mio do • lor.

^

r';fi-fFFi'i''^^rrffffFl:F^f i ^- ii

Gm ahbandono.

Roll, unpoco.

^-Vk

r^J/ j jij. i /,r^J .i J i ^fjr :j;

i"

Still so gent-ly o'er me steal-ing, Mem'ry will bring back the feel-ing, Spite of all my grief re -
Ah I per- che non pos - so o-diar -ti in - fe- del com' io vor - re - i Ah ! del ttU - to ancor non

FRANKLIN SQUARE SONG COLLECTION.

87

mti'M*- ^ j. j';;-^j i g'Vw/J^:j^

veal-ing That I love thee, love thee stUl. Still so gently o'er me stealing, M em'ry will bring back the
sf - I can-cei-Ut'ta daimio cor. Ah! per-chenonpossoo-diar'ti ifi-fi-delconC io vor -

££&

^ iFFFu^tii-'i f T rrrr i ^LDDinr i

Cu £ u

SIS=

feel-ing Spite of all my grief re - veal-ing, That I love thee, love thee still, I love thee
re ' I in - fe-dH com* to vor - re • i can-eel - lar - ti deU mio cor, si dal mio

^ -P- -^

^-^'^^imilW^

=t

s=

^

k | ?d^i i jj | jjjj|jjjj | j-;j:j: i ^

still, I love thee still, I love thee still, I love thee still, I love thee still.

still, I love thee still, I love thee still, I love thee still, I love thee still.
cor^ sit ^^ ^i<f co^t ii% f^<^ ^<^ ^or, si, da/ mio cor, si, dal mio cor.

i pi.f^ir|.ff i r"gf- b i r»»

HEART-ACHE FOR HOME.

Wiikex^smam.

Hbnkt MoRPoao.

I. The steickeB one nsay find a friend. The poor find needed gold ; And the ear once more may kindly
3. Loved forms that we would fain caress, A - wait our kiss in vain, Their pillows, like the ones we
3. Why cannot space be measured o'er As the lightning cleaves its line ? Ah ! why most absence ever

bend, That late was dos'd and cold. To midnight dreams re - lief may come. When
press, Are wet with love's warm rain. True hands we love thro' ev' - ry day Are
more. Like a pris -onM ea - gle pine? To ev'-iypain re • lief may come. And the

'^M

FKtif' FF M

m.

^m

^

*5

fT^

§''' i^H^lj*iJ^^ i i^'ks^ fjji^l j' jy * ' "

breaks the morning gray ; Bat the heart-ache for a far-off home, Oh, who shall take a - way !
clasped, and many a snile Is wast -ed, when so far a - way. We faint for it thewhUe.
sad- dest life grow gay; But theheart-achethat we feel for home, Will nev-erpass a -way.

88

FRANKllN SQUARE SONG COLLECTION.

Jenny Lind's little estate in England is called by
the country people Wnd's Point. The little granite
house with a tower was known as the " Nightingale's
Nest." It stands on the eastern slope of Hereford-
shire Beacon, and, except from the hill, is entirely
hidden from view byti small wood of laurel, spruce,
and fir trees. In a prominent spot, whence the view
is particularly charming, stands a round pavilion, in
the shape of a temple, which was built after her own
design. Here she would often sit, surrounded by her
children and grandchildren. It is four miles from
Malvern Abbey where she was buried November,
1887. At her funeral tributes of respect and affection

were as marked as during the days long pASt, when
she was the Queen of Song. There were wreaths,
bouquets and cut floweri from nearly all the gentry
of Hereford and Worcester, and the myrtle wreath,
made from the shrub she had planted on her wedding
day, and cared for all her life, was placed inside the
cof&n. The wreath sent by Queen Victoria was one
of tiny laurel leaves, interspersed with small white
cluysanthemums. A cross, upon a lyre of jwhite aza-
leas, was from the Prince of Wales; a wredth of
imperial pale blush roses and violets came from the
Crown Princess of Sweden; another, of the same
material, was from the Royal College of Music, in

SWEDISH CRADLE SONG.

Andanit^on es^ressione. ^^

Sung by Jbhnt Lind.

- AndanttLSon etfretsione. ^^ 11 |^ I

p,i^\ii \ if \ ihl\ \ \\\\.Ti

1. Light and

2. When thy

ro - sy be thy slum-bers. Rocked up -on thy mother's breast,
look her care in - vit • eth. All the moth - er turns to thee.

Wilf f

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#=»

m

f , tt , t j3

s

riJ;UilJr^l3'Jlh"<HJJ I J,Jj

*

B=gF^

She can
And her

lull thee with her num - bers. To the era - died heaven of^ rest,
in • most life de • light • eth. Drink • ing from thy cup of glee.

k^ree i r r i F r \ f nfF^ i ffif . ^

r|j.p i j7irj3i^Ji : H i i;^id^ij i

In her
O'er thee

ing. Like the plan - ets or the moon;
eth; Child of prom - ise, cher • ished well!

heart is love
now I her spir

re • volv
it bend

h^r r If r l rf i rf i r fif np ^

y.',..j,:.ij^p i .ij^ i j*ij-jij^ji^

Hopes and
With thine

m f f

pleas • ures fond
own her be

ly solv
ing blend

ing. Keep -ing ev - *ry thought in tunc,
rth, Hal - low'd by af • fee - tion's spell.

^m

9=9-

g

S=

i

^m

Sweden, which Jenny Lind had founded, representing
l!he common wild flowers of that country, and one, of
white lilies and forget-me-nots, was sent by the Swed-
ish Minister. The precentor of Worcester Cathedral
and all his choristers were present. Beneath a wealth
of flowers on the rose-wood casket — ^which lay on
a bier of royal purple velvet — ^was a plate bearing
the name "Jenny Maria Lind-Goldschmidt," with the
dates of her birth, death and burial. The anthem
was from "Elijah," which Jenny Lind had often
sung—" He that endureth to the end shall be saved,"
As the bearers were removing the casket to a ceme-

tery near by, I observed a village woman, who led
a child, stop to pick up a few violets'" that had
fallen fiom the casket-top upon the greensward and
press them to her lips. The hillsides around the
church and cemeteries, were fairty black with people,
not only of the vicinity, but nom distant villages,
whose tearful demeanor was remarkable. After the
remains were deposited in the grave, I talked with
some of the villagers, and their grief for their dead
benefactress was most pathetic. The remains were
not shown, but I learned that her face grew hour-
ly after death more sweet and pleasant than in life.

FRANKLIN SQUARE SONG COLLECTION.

89

SLUMBER SONGS.

Frbkch Lullaby.

i ijiiiiiiHiiiiiMiiirriirijijiii rriiji

I. Sleep, sleep, my darling, Sleep tranquilly. Mother is watching, Praying for thee, May holy an -gels
a. Sleep, sleep, my darling, Sleep tranquilly. Thy heav'nly Father Careth for thee. In thy soft era - die

On wings of light. Bring to my ba - by. Dreams fair and bright. Dodo, my darling, peacefully sleep,
Peacefimy sleep; While thou dost slumber Watch He will keep. Dodo, my darling, peacefully sleep,

•1— r.-fg-

^ Trfflrrr aF fr c i nrrr i r ii iri'

GERMAN LULLABY ( WIEGENLIED. )

fc j i ^''^'^'^' ' ^''^'^'^ ^ ' ^ '. 'Ji l.l IJ JM

Hoi too Slow,

1. Brother, thou and I, Brother, thou and I, We'll sing our lul • la • by. Hush thee, dear, sing

2. Brother, thou and I, Brother, thou and I, We'll sing our lul- la • by. Hush thee, darling,
I. Bru-der, ich und du,Bru-der, ich und du, wir schla-fen im-mer zu. Still und still und

f >p.fff ^.r

m

( • ( • P,

y"\^,^i ' I j Wj^^ 1 1 1 ill in 1IIJ1.1111

sweet and low, Ba-by now to rest would go; Hush thee, hush thee, Sing -ing soft and low.
have no fear, Lov - in^; arms en-fold thee here ; Hush thee, hush thee. Mother's watching near,
im • mer still, weilmem M&dchen schlafen wilL Stil - le, sdl • le, kein Ger&nsdi gemacht.

Tendtrly,

1. Hush I the waves are roll • ing in, White with foam. — white with

2. Hush! the winds roar hoarse and deep. On they come, — on they

3. Hush! the rain sweeps o'er the knowes, Where they roam, — where they

f^t-f-f l f '' 1 ^ r|p, | f:^ | f, | ^

%^

l.h^l. 1 jlJ j l .M^ i rJLiUU

PE

ba-by sleeps at hon
ba-by sleqn at hon
ba-by sleeps at hon

foam; Fa • ther toils a - mid the din. But
come! Broth -er seeks the wand'ring sheep, But
Sis • ter goes to seek the cows, But

home,
at home,
at home.

90

FRANKLIN SQUARE SONG COLLECTION

Perhaps the most thrilling quarter of an hour of
John Howard Payne's life w as that whenjenny Lind
sang *' Home, Sweet Home " to him. Tne occasion
was the Jenny Lind concert at Washington, one night
in December, 1850. The assembly was one of the
most distinguished in this country. The immense
National Hall, hastily constructed for this occasion
on the ruins of the burned National Theatre, was filled
to overflowing. Among the notables present and occu-
pying front seats were President Fillmore, Daniel

Webster, Henry Qay, Winfield Scott, and John How-
ard Payne. Jenny Lind opened with the "Casta
Diva," and followed with the "Flute Song" — ^in
which her voice contested in rivalry for purity and
sweetness with a flute in the duet — then the famous
** Bird Song," and next the " Greeting to America."
All were applauded apparently to the full capacity of
an enthusiastic audience, and Mr. Webster emphasized
the plaudit by rising from his seat and making Jenny a
profound bow, as if responding for the country to her

WHEN THE KYE COME HAME.

^^m

EmicK Shhphhrd;

^

1. Come, all ye jol • ly shepherds that whistle thro' the glen. Til tell ye of a se - cretthat

2. There the blackbird builds his nest for the mate he loves to see. And upon the topmost bough, oh, a

3. When the blewart bears a pearl, and the daisy turns a pea. And the bonnie lucken « gowan « has

4. A - wa' wi' fame and fortune — wj^ it comfort can they gie ?— And a* the arts that prev upon man's

^mVti

s

iWl'Vif fiii^ m

^^ ft v/

"^m

Jj j* J J JiJ: JJ ^

s

ig^

courtiers din - na ken : What is the greatest bliss that the tongue o' man can name ? 'Tis to
hap - py bird is he ! There he pours lus melting dit - ty, and love 'tis a' the theme, And he'll
fauldit up his e'e; Then the lavrock^frae the blue lift^drapsdoun, and thinks nae shame. To
life an' lib -er- tie! Gie me the high-est joy that the heart o' man can frame — My

feSFF^'^F' F'f' ^FPF FF i ^^'^'''^''F

1^^

¥

woo a bon-nie las -sie when the kye^ come hame; When the kye come hame. When the

woo a bon-nie las - sie wten the kye^ come hame; vThen the kye come hame, When the

woo his bon-nie las-sie when the kye come hame ; When the kyecomehame, When the

woo his bon-nie las-sie when the kye come hame ; When the kyecomehame, When the

bon - nie, bon-nie las-sie when the kye come hame; When the kyecomehame. When the

W^

kye comehame, 'Tween the gloamin'* an' the mirk, when the kye come ham

I" r I'T ""''' i'iitFi" [ [II r Fill

*cow». •tooking. 'daily. *lark. •sky. •twflight.

"Greeting." But when the "Swedish Nightingale'*
answered the encore by turning in the direction of
John Howard Payne and giving "Home, Sweet
Home," with all the wondmul tenderness, purity,
and simplicity fitting both the words and tne air
of the immortal song, the difference was at once
seen between the mechanical applause called out
by a display of fine vocalization, and that elicited
|>y the "touch of nature that makes the whole

world kin." Before the first line of the song was
completed the audience was fairly "off its feet,"
and could scarcely wait for a pause to give expres-
sion to its enthusiasm. People ordinarily of die un-
demonstrative sort clapped, stamped, and shouted
as if beside themselves. Meantime all eyes were
turned upon Payne, a small-sized, elegantly-roonlded,
gray-haired gentleman, who blushed violentljr at
finding himseuf the centre of such general observarion.

FRANKLIN SQUARE SONG COLLECTION.

THE OLD, OLD SONG.

9'

G. LSPORT.

H. D. Karnib.

1^ n. B. TARNIB.

low sweet-ly falls on heart and ear A qoaint and sim- pie childhood's tune; Ite

^y old tune brings a sound of leaves, The dash of wavelets on the shore. The

greeting is half smile, half tear, And gently sad, as rain in June! There's melody in friendship's
song of birds in cot-tage eaves. And voices hush'd for-ev • er - more 1 A gentle hand lies dasp'd in

( f g> F g F f f f B^^if -ff F I r t^ FF^

f\Mmsm^^m

tone. There's music in fondlov-er's si^h, But onestrain]ives,andonea-lone. When
mine, Tho' well I know the touch is vam. And, with a tenderness di - vine. The

ti'^piggg i fgCifFiF' 'F iTt^t^^if^

love's brief riiap- so- dy will die I Ah! 'tis the
loved and lost join in the strain! Ah! 'tis the

Old, old song that luU'd our
old, old song that luU'd our

ii

i*rfrrft^if-4f F i. 4Fffff .

in-&ntcare to rest; It is the song we sang when love first ruled the breast; It is the

(fH'fffggffS l ff p p

f

^

rpinr

(f ^j;JgMil^^ l ^^^^f^JJ-at11^

old, old mel-0 - dy, that nev-er will depart, For oh ! it floweth, floweth from our beating heart 1

<"" f f Ff f F'^^^^^^'f f "? g ff# ^

93

FRANKLW SQUARE SONG COLLECTION.

ON THE MOUNTAINS
/

TuLBs Bbmsdict.

GutOLIMK NOKTON.

h ^

fe-;jiJ';-Kjj i jj^jj.jj^j;j .i i,r;;r.r.r.i

1. On the mountains, when our toil is done, Late at eve I take my stand, Till love's call the Alpine horn hath.

2. Tho' the home be humble where we live, Palace walls kss bliss contain ; Tho' our hearts be all we have to

3 * .JJ.^ ^^^

f^

^jMlM.

m.

5F =

dd ^i^J hfejlj JiC;4 il J.J?

blown, In my feithful shepherd's hand. Full and clear that distant note To my heart appears to float,
give. Kings have sighed for love in vain. And the trumpets, pealing high, Echo thro' the vaulted sky,

f-JTJ

t'-Vif'Fr i FT'rripf i 'gp'gigpgr'Mg t

All the echoes brineinc^ Sounds more sweet than sineing : ** Come, darline. come !^ All the echoes bi

All the echoes bringing Sounds more sweet than singing : '* Come, darling, come !^ All the echoes bringing
While the vic-tor lone-ly Pines for one notej>nly : '< Come, darling, come !" While the hero lon^

^

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^m-m-m.

^

p

bu^i

=*

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l^ U U U ig

wv

'^Jjj^'i j;j i j[^'j7 i j jj'^uij j i j j ^

^

Sounds more sweet than singing,*^ Come, darling, come !" Cold in mist the shadows darken, Fades the golden
Pines for one note only : " Come, darling, come !" So, tho' storms may break in thunder. And the snow-drifts

light of mom. Fear-less still I wait and hearken For that far - off Al - pine horn :
fall for- lorn, I would stand the dark rocks un-der list'ning for that Al -pine horn:

i t'iuppfFf Ff^f i pp i pp i r- pf i ^ Ffr P

Pocomtno.

iempoprimo.

f |[r^^ijjJ4iJ-rijJij.riijTj,ni

All my pulses beating With the joy of^eeting. Come, come, come, come, O

Y!^ \ }mii ui i^iM'\f\'\ \ nf\\'m

^ A» sung l>y Madame Jenny lind-Goldschmidt.

FRANKLIN SQUARE SONG COLLECTION
P

93

jjii.i ■ji;i".'jujiii-,,i

m

line.

^

rr^.

ing, come I O

ling, come I O come! O dar

^^ P

m

come! darline. cornel darline. come ! darllnei come! darling, come!

'ling, come !

i%^ i; \ ^ gg ip tfA\ \ \ u rrm

THE LAND OF DREAMS

Jtfodfrata.

F. Ekoch.
Artruk Wilton.

f cj/u, Jid \ 'J.*iJ\i ; IJ\<1*^ \ ^ ^

1. There's a land, a radiant land, That the spir - it of - ten seeks. Up • on whose golden

2. In tliat land, that radiant land. Is ma - ny a dwell-ing place. Whose beau-ty human

3. To that land, that radiant land. Whose spir -it hath not sailed. To seek the golden

iri.i^pffr..°.rT

i^^

i

, f .1 JJIJd j ii ;;-}.piJ:;;up;j] i ^^

strand The wave of fan - cy breaks. The wave of fan • cy breaks : There the
hand Could nev • er, nev - er trace, Could nev - er, nev - er trace; There
strand, When the joy of earth - life failed. When the joy of earth -life failed? In

skies are ev • er fair. And the sunlight ev - er beams, And the flowers are bright and rare, In that
joy - ous songs are heard. In the vales of crystal streams. From breeze, and voice, and bird, In that
thought's brave barque alone. To the realm of changeless beams. For the radiance only known In that

land — the land of dreams, And the flowers are bright and rare. In that land, the land of dreams,
land — the land of dreams. From breeze, and voice, and bird. In that land, the land of dreams,
land — the land of dreams. For the radiance on - ly known, In that land, the land of dreams?

lt^e:gff i F,>n'FM^^^^i#Hff i r:[p:g i Pa ]

94

FRANKLIN SQUARE SONG COLLECTION.

DREAM FACES.

Andante.

Wm. M. Hutchinson.

1. The shad - ows lie a • cross the dim old room, The fire - light glows and fades in - to the

2. Once more I see, a - cross the dis-tant years, A face long gone with all its smiles and

^5

I

i^

r i rrrr i rr rF i f r f Trf i

JHR

||^jjyjljj | s:c p^

^Pi

y-a <l f

gloom, While mem'ry sails to childhood's distant shore. And dreams, and dreams of days that are no more,
tears ; Once more I press a ten - der lov-ing hand. And with my dar- ling 'neath the old oak stand.

m Pf If errrf^f ir f i pf 1 ^ ^'F^ ^

•O* p Allegro. Rtfrain.

m

is^

^

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*:£=^

Sweet dream-land fa - ces, pass - ing to and fro, Bring back to mem' - ry

hip prfpffFf i rgHp'^g

t^

/lave e\f \fKy\r9 « nr\ \fnv _ «w«i«iiiin/v <vA*«t ^ 1«* *1««m%' <* «m<b^ t-^f «^««*«^^ « TT^^rk* /\v«

b'p^f[: i ^^iff^L6fflL| i rffH^Vff i

•$• yl/?*r 3^ verse go to Coda.

i \ ^i^}M^^ i ***mii MM iU

loved one, we shall meet a - gain."

3. But all I loved are gone. And I a-lone in

P

PP eres

.WJ J Is j J. JlJni, ^

S=E=3i

*=r

life. To wait, and wait, and wait. Till death shall end the strife; Un - til once more I

fT"

FRANKLIN SQUARE SONG COLLECTION

95

join the hearts that loved me best, Where the wicked cease from troubling And the weary are at

m:

■^' -f

Wif-g-gi^

m

^

-(•^

^^

E

I I I

^Ctda.

»

m

m \ J i J^J-n iT ' H f?J J

^^

s:«5:

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rest! we shall meet a - gain, we shall meet, shall meet a- gain!

^^ D.S. re/rain " - -

^E

-rs3

ff rg i k i rEi-tifFrir ^

ini

t:

r-

FLOWERETS BLOOMING.

[VHAISE OF TEARS.]

I. Flow'rets blooming, winds per • fum - ing, Ev-'ry joy of youth and spring. Soft ca ■
3. When the streaming eyes are beaming Thro' the mist of sor -.row's tear, There's a
3. Deep grief tell-ing, tears were well -ing. Till they flow'd throughout the world ; They sur •

3?±t

^ffl FBBF P ^

BS=?

i

artf7 XX

^

i f.JTi.i''j.f i jr^j j.j. i jj>^j:^p^ i -i js^

ress - es beau - ty
heal - ing Power re
round it, and a

press - es On the lips that fond • ly cling; Joy o'er-

veal • ing Heav'nly glimp - ses bright and dear. Oh, how

round it All their pity- ing waves have curl'd; Earth's dust

t'^.^ff[f i r rSi:s i E'gF P i f =^

flow -ing, nec-tar glowing, Mer-ry dance and fro- lie arts. All the passions' wildest

flow -ing, nec-tar glowi:
fleet - ly, calm'd thus sweetly,
spuming^ art thou yeagiing

er - ly dance and fro - lie arts.

Each wild thought^to rest is hush'd.

For a state all' free from sin?

All the passions' wildest
As the flowers, cool'd by
Then in weep-ing thy soul

f' JV

■f i Pi^^ i rri i P^

^: 4l g

^*5

^M

\

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»=2=

=t=P

i

er fill our hearts? Can they ev -
that erst were crush'd. Lift their heads
that flood with -iu, Let it plunge

s

fash -ions. Can they ev -
show - ers, Lift their heads
steep -ing. Let it plunge

er fill our hearts ?
that erst were crushed,
that flood with - in.

■St-

£-&— g-4— I U- £ ^ig- W P ^— *- ::

96

FRANKLIN SQUARE SONG COLLECTION.

THERE IS A GREEN HILL.

fU \ \l}i \ li^i\ri^'l\ii^ \

R. S. Willis.
C. F. Alsxakdbk.

Lordi

1. There is a green hill far a - way, With-out a cit • y wall. Where the dear Lord was

2. He died that we might be forgiven, He died to make us good, That we might go at

3. Oh, dear - ly, dear- ly has he loved, And we must love him too, And trust m ms re

f j jj (ju /yj^ i jjjij ^^^jj' i j j-^

cru • ci - fied. Who died to save us all. We may not know, we can • not tell What
last to Heaven, Saved by his precious blood. There was no oth - er good enough To
deeming blood. And try his works to do. For there's a green hill far a - way. With -

pains he had to bear; But we be-lieveit was for us He hung and suf-fered there,
pay the price of sin; He on - ly could un-lock tfie'gate Of Heaven, and let us in.
out_ a cit - y wall. Where the dear Lord was cru- ci- fied. Who died to* save us all.

SAW YE MY SAVIOUR?

I N 1^^ I J. I "Bdbllium."

I. Saw ye my Saviour, saw ye my Sa - viour? Saw ye my Saviour and God? Oh! he

fi« He was ex - tend- ed, He was ex - tend - ed, Pain- nil - ly naiPd to the cross ; Here he

3. Dark - ness pre - vail - ed, darkness pre - vail - ed, Darkness prevail'd o'er the land. And the

4. Hail, migh-ty Saviour! Hail, migli-ty Sa - viour, Prince,andtheAuthorof peacelOh! he

» 3ag..4

J-^ i' i i ^c i i'fr i H i -f.,^. p: i J,i |iUi

fc^^l t l-

I'" JiJJ i J iJi^iJlTjis i j jj i i^

died on Cal- va - ry, To a - tone for you and me. And to
bow'd his head and died, Thus my Lord was cruci - fied, To a •
sun refused to shine. When His majes- ty di - vine Was de
burst the bars of death, And, triumphant from the earth, He as •

-^ !# • it i ^ l» tf 1^ # I gj :

purchase our par-don with blood,
tone for a world that was lost.
- rid - ed, in - suit - ed, and slain,
cend-ed to mansions of bliss.

m, Trr'\''..t'fTff i ;

i

=J:

I' l l 'rp i ppp i r III

f

i» i» i»
I' i I I

^

:t

FRANKLIN SQUARE SONG COLLECTION.

97

DEPTH OF MERCY.

Charlb Wsaunr.
J. Blumbnthal. " Blumbhtral."

i fijjjJiJjJM^ij i Jj; i j ^m

1. Depth of mer-cy! can there be Mer-cy still re -served for me? Can my God His

2. Kindled His re - lentings are; Me He now de- lights to spare; Cries, "How shall I

i rrrrifrr ii'i T ri ^^ i'^iri^^'^

1 — I — r

Tath forbear, Me, the chief of sin - ners, n>are ? I have long withstood His gm

'r^

Jtst

wrath forbear. Me, the chief of sin - ners, n>are ? I have long withstood His grace ; Long pro •
give thee up?" Lets the lift - ed than • der drop. There for me the Saviour stands, Shows His

J3.

s

voiced Him to His fiice; Would not hearken to His calls; Grieved Him by a thou -sand falls,
wounds and spreads His hands; God is love! I know, I feel; Je - sus weeps, and_ loves me still.

rTifrrirrrtrrrni

^

^

COME, HOLY GHOST

Charles Wbslst.

Wm. TaMSUR. "St. MARTZN't."

1. Come, Ho - ly Ghost, our hearts in-sp^^> ^^ ^ Thine in fluence prove;

2. Come, Ho - ly Ghost, for, moved by Thee, The proph - ets wrote and s^kc.

3. £x - pand Thy wings, ce - les - tial Dove, Brood o'er our na - ture's night ;

Source of the old pro - phet - ic fire, Foun-tain of life and love.

Un - lock the truth. Thy - self the key; Un - seal the sa - cred book.
On our dis - or - dered spir - its move, And let there now be light.

•Come, let us join our cheerful songs
With angels round the throne;

T"en thousand thousand are their
But all their joys are one. [tongues,

y-7

« Worthy the Lamb that died," they
" To be exalted thus : " [cry,

" Worthy the Lamb," our lips reply,
" For He was slain for us."

Jesus b worthy to receive
Honor and power divine ;

And blessings more than we can
Be, Lord, forever Thine, [give,
Isaac Watts, 1709.

93

FRANKLIN SQUARE SONG COLLECTION.

A DAY or two after Lee*s surrender, in April, 1865,
I left our ship at Dutch Gap in the James River, for a
run up to Richmond, where I was joined by the ship's
surgeon, the paymaster, and one of the junior officers.
After "doing" Richmond pretty thoroughly we went
in the evening to my rooms for dinner. Dinner being
over and the events of the day recounted, the doctor,
who played well, opened the piano, sa3dng, " Boys, we
have our old quartette here, let's have a song." As the
house opposite was occupied by paroled Ck)nfederate
officers, no patriotic songs were sung. Soon the lady
of the house handed me this note : ** Compliments of

General and Staff. Will the gentlemen kindly

allow us to come over and hear them sing ? *' Of course
we consented, and they came. As the general entered
the room, I recognized instantly the hct and figure of

one who stood second only to Lee or Jackson in the
whole Confederacy. After introductions and the usual
interchange of civilities, we sang for them glees and
college songs, until at last the general said, ** Excuse
me, gentlemen, you sing delight&ly , but what we want
to hear is your army songs." Then we gave them the
army songs with unction, the Battle Hymn of the Re-
public, John Brown's Body, We're Coming, Fatlier
Abraham, "Tramp, Tramp,Tramp, the Boys are March-
ing," through the whole catalogue to the Star Spangled
Banner, to which many a foot beat time as if it had
never stepped to any but the " music of the Union,"
and closed our concert with Rally Round the Flag.
When the applause had subsided, a tall, fine-looking
fellow in a major's uniform exclaimed, *' Gentlemen, if
we'd had your songs we'd have licked you out of your

THE GUM-TREE CANOE.

S. S. Stbblb.

^^ii^iiM ^^i ^iii\^^ /Jtf J. ^

Tom-big-bee riv-er so bright I was bom. In a hut made of husks of the tall yellow com, And
All the day in the field the soft cotton I hoe, And think of my Ju-lia and sing as I go; Oh, I
With my hands on the banjo and toe on the oar, I sing to the sound of the river's soft roar ; While the
One night the stream bore us so far,far away. We couldn't come back, so we tho't we'd just stay. But we

^ i eee i ffg{ i <-f.rHffg i fH i rfB i ?gf i f^

^ OufTKt.

thet^ I first met with my Ju - lia so tme, And I rowed her about in my Gum-tree canoe. Singing

catch her a bird, with a wing of tme blue, An' at night sail her 'round in my Gum-tree canoe. Singing

stars they look down at my Ju-lia so tme. And dance in her eye in my Gum-tree canoe. Singingr

spied a tall ship with a flag of tme blue, And it took us in tow, with our Gum-tree canoe. Singing^

^

If f I f gf if f Jlj iff iggg | g?8if f'gij i iigj

fii^ii\n^uii\^\^mi \ ^i:\

row a -way, row, o'er the waters so blue. Like a feather we'll float in my Gum-tree ca-noe.-
row a -way, row, o'er the waters so blue. Like a feather we'll float in my Gum-tree ca-noe.

m

g'fg i fSg i gff i p ^

^^

^m

i

boots ! Who couldn't have marched or fought with such
songs? While we had nothing, absolutely nothing, ex-
cept a bastard Marseillaise, the Bonnie Blue Flag and
Dixie, which were nothing but jigs. Maryland, my
Maryland, was a splendid song, but the tune, old
*Lauriger Horatius,' was about as inspiring as the
Dead March in Saul, while every one of these Yankee
songs is full of marching and fighting spirit." Then
turning to the general he said, ** I shall never forget the
first time I heard Rally Round the Flag. 'Twas a nasty
night during the Seven Days Fight and, if I remember
rightly, it was raining. I was on picket, when just be-
fore * taps ' some fellow on the other side stmck up that
song and others joined in the chorus until it seemed to
me the whole Yankee army was singing. Tom B ,

who was with me, sang out, * Good heavens. Cap, what
are those fellows made of, anyway ? Here we've licked
'em six days running and now, on the eve of the seventh,,
they're singing Rally R ound the Flag ? ' I am not nat-
urally superstitious, but I tell you that song sounded to-
me like the knell of doom and my heart went down into
my boots; and though I've tried to do my duty, it has
been an up-hill fight with me ever since that night."
The little company of Union singers and Confederate
auditors, after a pleasant and interesting interchange of
stories of army experiences, then separated, and as the
general shook hands at parting, he said to me : " Well,
the time may come when we can all sing the Star
Spangled Banner again." I have not seen him since.
^-Richard Wentworth Br<nime, in Century AfagMtne.

FRAI^KUN SQUARE SONG COLLECTION.

ALL BY THE SHADY GREENWOOD TREE.

f AlUgrttt0moss0, |^

99

G. RoasiNX.
From, " Maid of Judah."

1 . All by the sha - dy greenwood tree, The merry, merry arch - ers roam ; To • vial and bold, and

2. All by the sha - dy greenwood tree, The merry, merry arch - ers roam ; Jo - vial and bold, and

Kir??fnn^ ! '"^ffffrr ' ^'- | ^^^

.r^4-.4j: P-rr i J. i ;Hjj i Jjj i jj.fj'r i

ever free, They tread their woodland home. Roving beneath the moon's soft light, Or in the thick, em-
ever free. They tread their woodland home. Sweet is the song that fills the air. Floating a -far o'er

m

*=f

i \ m ^ .\ \ \\ \Wr ^^

^ ¥ ¥

f J ; ^ i ; ^/;nj»; J ; /^x j^ te

bowering shade, List'ning the tale, with dear de - light, Of a wan - d'ring syl-van maid,
the forestglades; Welcome the mer - ry hunt-er's horn, Ere the twi - light glo-ry fades.

l ^'ngp i H^H i ? ^^

|i f/^ '^'.U'^' l JJJi^1"JJJJff l JjV jj i-|

All by the sha- dy greenwood tree. The mcr-ry, mer-ryarch-crs roam; Jo -vial and bold, and ^

Itf' \ i fj' i ^ i'f ,riM.fff |i ^[rrr ir ^

ever free. They tread their woodland home I Jovial and bold, and ev-er, ev-er free. They tread, they

rrrcm i nrrr tii rirnrr

^

If I ^UIJI ni . HiFr' i FF i Ff'F-

tread their woodland, woodland home, their woodland home, their woodland home, their woodland home.

lOO

FRANKLIN SQUARE SONG COLLECTION.

Oh, did we but know when we were happy I Could
the restless, feverish, ambitious heart be still, but for a
moment still, and yield itself, without one Deurther-as-
piring throb, to its enjoyment ; then were I happy, —
yes, Sirice happy ! But no ; this fluttering, struggling,
and imprisoned spirit beats the bars of its golden cage ;
—disdains the silken fetter ; it will not close its eft and
fold its wing ; as if time were not swift enough, its swifter
thoughts outstrip his rapid flight, and onward, onward
do they wing their way to the distant mountains, to the
fleeting clouds of the future ; and yet I know that ere
long, weary and wayworn and disappointed, they shall
xetum to nestle in the bosom of the past ! — Longfellow,

Slow and thick the evening shadows were settling
around the grey, sombre walls of the prison, and a Sab-
bath calm had fallen on its weary corridors, while the
mute and lonely habitants of the cells were holding
communion, each with his own sad thoughts — perhaps
of home and happv firesides, of friends and idndred
associations. To tnemselves they seemed abandoned,
forgotten by the outside world, and dull despair, as dark
and heavy as the night fast falling round them, en-
shrouded their thoughts as they dwelt upon their hard
and bitter lot. But stay! Forgotten, abandoned, are
they ? Music, in sweet, soft, deep strains, is now roll-
ing, floating, vibrating along the gloomy corridors;

WE MAY BE HAPPY YET.

M. W. Balfb.
' Davghtbr of St. Mamc.'

i) Largkttto cantabUt, | i W\ U j I W^

LargkeUo cantabiU. I ^ * W

1. Oh, smile as thou wert wont to smile. Be -fore the weight of care Had

2. Oh, nev • er name de - part • ed days. Nor vows you whis-per'd then. Round

mw -*W"^^ p i f" ^^' ^ i FF^''?" i F *^ \

fU;^J^jp i f U J:«J]j jj:3lJMj | ,n^

crush'd thy heart, and for a- while. Left on - ly sorrow there; Some tho'ts perchance t'were
which to sad a feel - ing plays. To trust their tones a -gain: Re -gard their shad • ows

b, ...ffpp i T'fff:F i FrrnrMf i |:rP'f [

yi"' ■rj p i jj„jjj:^ ''iii r,i|i,^'[| ^\

-wi ir

best to quell. Some im-pulse to for - get. O'er which should mem'ry cease to dwell, We

round thee cast. As if we ne'er had met. And thus un-mind-ful of the past. We

crw. raU. ^ |^ /^ ^ ^ /^

fcfJsig i jBJ j;f3 i gg.J;gp^JJvm:^^ ^

may be hap-py yet! We may be hap-py. We maybe hap

py yet

^v; peV-f iff raff | fff Iff

3!*

w

kU

organ notes and notes of human voices blended in
sacred song, make the place resound with sweet har-
mony, before which the sadness and bitterness of tiie
prisoner's lonely reveries melt away ; notes of sacred
song which could not but break down the barriers of
sin around hardened hearts and give forth an echo
there. Ladies and gentlemen, from the Church, had
come quietly into the jail, and with all their power for
good were exerting a Christian influence upon the souls
uiere confined — souls listening, while earnest faces
pressed against the grates and eyes blinded with tears
tried hard to pierce the gloom. The visitors sang into

the evening ; then there came a pause, and soon a cer-
tain prisoner beckoned to one of the jail attendants who
approached and bent forward to hear what he had to
say. " « Home— Sweet — Home ' — ^please," he faltered.
The good warden hurried away to the pbce whence
the music had proceeded, but ue singers were gone.
When we are not enough in sympathy with nature
to feel new bom ourselves with every new biith of spring
buds and blossoms, then only are we dead, and a dread-
ful death that is. George Macdonald says, *'Then
only is man growing old, when he ceases to have sym-
pathy with young people. That is a dreadful old age."

FRANKLIN SQUARE SONG COLLECTION

THE GRAVE OF BONAPARTE.

lOI

L.HBATH.

^^

=F^

Ji;?; i j-j^Ji?JJ i J^

^-fr i ; i a 1 ^

f

1. On a lonebar-ren isle, where the wild roaring bil - low As -sails the stem rock, and the

2. Oh, shade of the might-y, where now are the le-gions That rushed but to conquer when

3. Yet, spir - it im - mor • tal, the tomb can-not bind thee, For, like thine own ea - gle that

H/HM^rM-f^u /j- i ^J^ i ^/YH^^ i

loud tempests rave, The he • ro lies still, while the dew-drooping willow. Like fond weep-ing
thou led' St them on, A - las ! they have perish'd in far hil-ly redons. And all save the
soar'dto the sun, Thou springest from bondage, and leavest be-hindthee A name, which be •

^

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f \^\\\^.^\fA\>\^A^\ili^\

\

-^^

mourner, leans o -ver his grave. The light'nings may flash and the loud thunder rat -tie. He
fame of their tri - umph is gone. The trum-pet may sound and the loud can-non rat - tie. They
fore thee no mor - taL had won. Tho' na - tions may com - bat, and war's thunder rat - tie. No

heeds not, he hears not, he's free from all pain ; He sleeps his last sleep, he has fought his last battte, No
heed not,they hear not, they're free from all pain ;They sleep their last sleep,they have fo't their last hattle,No
more on the steed wilt thou sweep o'er the plain ; Thou sleep'st thy last sleep, thou hast fo't thy last battle, No

^^

K

^m

^m

-^^^

-y-r

^

^^iJ l ^PjH%,^rf l rT 4prl^ ^^

^f=^

sound can awake him to glo • ry a - gain, No sound can a • wake him to glo - ry a - gain,
sound can awake them to glo • ry a - gain, No sound can a - wake them to glo -ry a - gain.
soun4 can awake thee to glo-iy a - gain, No sound can a -wake thee to glo • r^ a -gain.

(sX'i^imM^m

loa FRANKLIN SQUARE SONG COLLECTION.

THE GOOD SHEPHERD.

Rtcitativ€. Maestoso,

G. C. BlKGHAM.

Odoardo Barhx.

When wild the night, and dark the stormy way, When from the path our wandering footsteps

^

-is--

jSL

221

:«=

ft^ #-

173"

IC2I

231

tray. Hark to the voice that speaks o*er life's wide sea, « I am the Gk>od ShepherdTcome to me I "

8va.

mf

- I- >. | JJj J:j jlj ^JIJJJ ^

I. Theni

«••

night fell fast upon the wold Shone forth the even-ing
2. Oft from the path we wil-ful stray. And round us falls the

^ ^ SJ^J'J i

U7^JJ"

ICt

EZ.

The Shepherd

Tho' still to guide us on oiur way.

iiim

star;
night;

Shepherd watched an emp-ty fold.

heep 1
Shines forth Thy Word's true

far, O'er thorny path and sto-ny plain

light ; We give no an - swer to Thy call.

In loT - ing search He passed, And
We long for pastures newj Ah I

gath-ered them to Hun a-gain, And led them
Fath ■ er ours, Thou knowest all, We know not

0^^ , ^iir{^^^ , fl ^^

221

P=F

^EBi

FRANKLIN SQUARE SONG COLLECTION.

»03

P

Gm ttnUmtnic.

J^j. i J Jj J i Ji=UJJi;i i

| J i. ia ! jJ. 'g

Lord, thou art our Shep • herd ! Guide us, lest we strdy; Gath-er us when the night

m

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f

^^

^

■fel:^:'m

It

■i^ 'ai

TT.

com • eth, Is • to Thy fold for aye. Lord, Thou art our Shep - herd t

I III >— »w attm/Ot

I III /""^ »»cw»?rw,

W* p : 'J: IJ J j"f f-f iprp »ip : C f p^^

r''jj,JW-Jl'J:'Jd^i-Jrjt^^Jj^JJil

Guide us, lest we stray; Gath-er us when the night com- eth. Safe in Thy fold for

rJ mZ

aye.

for aye, For aye, In - to Thy fold for aye

f^f4 \;x\ rf^}^^ m s : \r^ ^m

THE MERCY-SEAT.

Hugh Stowsli..
Thomas Hastihgs. "Rbtrbat/

I. From ev - ery storm -y wind that blows. From ev - eiy swell -ing tide

^ g

2. There is a place where Je • «us sheds The oil of glad -ness on our heads;

i J i 'Jij jijjjjj M ,1 ijiu. iia

There is a calm, » sure re - treat; 'Tis found be - neath the mer - cy - seat
A place than 'ail be -sides more sweet:* It is the blood-bought mer - cy - seat

r i pe(;fipfi'p i r r i -rf i ri' i nill

m

SZI

3. There is a scene where spirits blend,

Where friend holds idlowship with friend «
Though sundered &r, by faith they neet
Around one oommwi mercy ^se«t

4. There, there on eagle's wings we soar,
And sin and sense molest no more;
And Heaven comes down our souls to greet.
While glory crowns the mercy-seat.

I04

FRANKLIN SQUARE SONG COLLECTION

iXN^vv x^j.\x>^xj.x xr^x jr\, v. G. Rossnn.

I. How bright and fair the mom is break-ing! We'll hail it with a mcr - ry

1. How bright and fair the mom is break-ing! We'll hail it with a mcr - ry

2. From fields of bloom come bud and flow - er, To deck fair brows with gar • lands

sound Of tune - ful chords, soft ech-oes wak-ing, Or notes that from far hills rebound;
gay; With grate -ful hearts we thank the Power That lends such beauty to the day;

ms-

,^^ J J. .figj J J J

m

'mjw

W iSafpi Ji.r^ih H/^.H/ /J Hf

Of tune - ful chords, soft ech - oes wak - ing, Or notes that from far hills re - bound.

With

Hi« r f T

Luuc - lui c;llUJru^y suii cuii - uca wum. - lu^, yjt iiuics uiui uuiii lar niiib re - uuunu.

grate - ful hearts we thank the Power That lends such beau - ty to the day.

m

^m

!■ > ■

U U ' 1 ^ 1^

f ;/Ji;^Hjj;)J^i«Mj;^

K N K

^

Then ply our work, just tribute mak - ing, To Him who guides,

the seasons

To Him who guides U U ^

' jTj^ i j^jj'jj :r i J^fljj i j:jj i ^^.i^'5fr^

round, How bright and fair the mom is breaking! We'll hail it with a mer - ry sound.

^

EZ

-!W

f "in \ ^j^tt^^i fl I si't f i bJ ^

t

^

Then ply our w ork, just trib-ute mak - ing To Him who guides the sea - sons round.

^

mTfft^^

k i^ i^

^

«

f

U i^

FRAifKLM SQUARE SONG COLLECTION.

105

^ Jjijyu^vj ; i f p gi"F ^J i »J^

Then ply our work,, just trib- ate mak - ing. To Him who guides the sea - sons round,

.^\\\^P\\\\^t f.

\\ }\P^

W—m-

h Fs F3 /' p pp

To Him who guides the sea - sons round, To Him who guides the seasons round.

t'-"?niri°^^]? i f^ i i:i:rrfn:i: i ^

I SAW A SHIP A SAILING.

Cakl RsntBcxB.

fMf^i j\i.ffi fi/j-*i\^ Jj ^

I. I saw a ship a sail-ing, a sail-ing on the sea, And it was full of pret-ty thii]

I. I saw a ship a sail-ing, a sail-ing on the sea, And it was full of pret-ty things for
four and twenty sail - ors, a skipping on the deck, And they were white and pretty mice with

hd \\ n^\ \ H4 \ rf}i\r*Uf.i'^ \ trr%

| |N J"l r i ijjii

^a^

i^j ^^ i

ba - by and for me. Therewere rai - sins in the cab- in, su-garedkiss - es in the
rings a - bout the neck ; And the cap - tain was a duck with a jack - et on his

hold. And the sails were made of silk and the masts were made of gold. Therewere
back. When the ship be-gan to sail, cried the captain quack, quack, quack.

£

^ i rbrMl-.l-i l FfOf l ^^ ^i

BRP

cz

I (ROUND.)

1 . March, march, march, we'll gladly march alon^;, March, march, march, and sing a joy - ous song.

2. Tramp, tramp, tramp, across the the vale and hiU, Tramp, tramp, tnimp, along the sha-dy rill.

I (ROUND.)

^ Poor Toh]

^

w=rz

r ^ J

i

Poor John - ny's dead, I hear his knell; Bim,bim,bim,bim, home, bell, Bim, bim,
3

m

i

h I I

-tf— 1-

=i=*=

J J J u.

bim, borne, bell. The bell doth toll; O may his soul in Heaven for - ev - er dwell.

<o6

FRANKLIN SQUARE SONG COLLECTION.

JUDITH.

Recitativt,

Bblamgbr.
J. CoMcoNB. "Judith,'

Beneath the ramparts of B£ - thu - la Ho-lo-pher - nes hath marshalled his in - fam-ous hosts.
Souslesrempaxts^e B^-thu • 11 - e Holopbeme a con-duit ses in • f & - mes sol - dats.

^

^^

m

m

w

gj hpJJ JJ'JI J ^J/J JJipHf »^> f f f }:i ,1 J J^^ £ff

He hath de-vot-ed us to their im • pi - ous fa - ry, And to-morrow the sun shall look down for my
II nous a d6-vou-is A sa fu-reur im - pi - e; et demain le so - leil cherche -ra roa pa-

S

^

^
-^

g ,jJ-J'J'J'jJ] ^> l l*^^ jl 4_^^jjj^^ ^

country, But will find it do more,
tri - e qu'il nc re--ver-ra pas.

Our God a -lone can save us From
Pour no - tre de - li - vran - ce Dieu

R=»

^n^.r^ul

rw^w-^

^F=SI^

sz

f

•^

W

s.

i ^7 »^ ^ i^i\ u i ^H\U Mi \ ^**^-i i .

foes that would en -slave us, His arm can aid af- ford. His arm can aid af-ford: A -
seul en sa .puis - san -co poor-rait, combattre en - cor, pour- rait combattre en -cor: He-

i JJ'j;i) iJ 'j-3lJ:J^>JljJJvto;lfe

\ us to the sword, De-

las ! a God nn - 1:>end • ing, In wrath at our of - fend • ing, Devotes

las! unDiflHfie-ve • xe, nous livre en sa co - le - re, au glai-vede la mort, Au

^

;^j. i ,' Kb i r'F i 'T i r'FL i "rn i ''^ i ^^^

LargtmtnU,

j-JixLJ" ''i;. i i^'^ i' ^ii>iji(N:nir]'ji

votes us to <he sword,
glai - ve de la mort.

Look down and pity our condi - tion, Grant us thine aid in our sub -
Ah I prendspitie de nos a - lar - mes, de tes en£Emts benis les

ti> ' f'.^f'.i \ f^*h'*nm mf* \\- F b p ^

FRANKLIN SQUARE SONG COLLECTION.

107

mis - sion, Thou see*st,0 God, our deep contrition, Our heavy woes should mercy

ar - mes, Dieu, juste et bon,tu vols nos lar - mes, no - tre mal-heur te doit fl^ - cbir.

To save our homes from devasta • tion, Life would I give a free ob - la-tion, And for the errors of my
Pour le sa-lut de ma Pa - tri • e si je pouvaisdonnerma vi - e, aupieddesmuisdeBethu-

nation Proudly I'd march, yes, proudly I'd march to death and shame ! Oh, God, thou see'st our deep con •
li • - e je se-rais fie - re, je se-rais fie - re de mou - rirl Dieu, juste etbon,tu vols nos

^SS^

-^-

si

^^^^^^m

PE

S:$i

S£

^

^|PJJ JA'"''^i'i'

sss

in • • tion. Our heai

tion, Our heavy woes should mer - cy claim, Look down and pity our sad con -
mes» no - tre xnalheur te doit fld-chir! ahi^rendspitie de nos a-

tri - tion, Our heavy woes should mer
lar-mes, no -tre xnalheur te doit

cy claim, should mer
fli • chir, te doit

cy dpim.
fid - chir!

&^^iitft^ . ^l- JlJ^JH i d: Jlf^-ll l

AnoUMr-putisf ^'Judith" » found on next page, which may be sung with tlua if desired.

iq8 franklin square song collection.

'TIS GOD WHO ORDAINS ME.

i

^: ii

Bblangss.
J. CoifcoHB. ''Judith."

^

k k k I n IK

j i"j"j Jj

3E

J=5t

< f n

*^ f Allegro moderate.

Ah! what a rapturous thought inspires within my bo - som a pro • ject sub -
Mais, quel trans -port sou-dain me fait ger-mer dans Tame un pro -jet glo • ri •

r gggefFfFFC i rrri u

fJ.ir.NiiT^j.^jtjj .r i i j . jij.jjJi j r

a volonte.

lime; Is not the glorious dream a ray of light ce • les - tial, whose blaze illumes mine eyes !
eux ! N'est ce pas le ra • yon du - ne ce - les - te flam - me qui vient finpper mes yeuxl

i\\^i\ \ Hi}M ^'m

it±%

j^qgj^

Wl

i

x^uegretto. tvtiA energy. ^-**y^ ^^^

Yes, 'tis God who or-dains me, and to vie • fry con • strains me,
Oui, c*est Dieu qui m'ap-pel - le, et je mar • che fi • de - le.

a*.' r ,r

¥ f ^f

■=^

^

=^

SSjt

f=r

ffiUiWt

'^t'i'^P^^

^M

^E

•=

i=r

'Tis his voice that sus- tains me, that im - pels me a • long, When this sword of sal •
a U voix im-mor-tel - le qui prd>c6 - de mes pas! Quandce fer le - gi -

^

^^■^

f i-^r Ut \ ^ p p I f 4:p p r r

ieStt

p.ijy^;^^,i^ l j^^ U \ ^,^^^^

la - tion, My

va-tion strike the foe of our na - tion Fill'd with ho - ly e

ti • me, frap-pe • ra sa vie - ti - me le de • voir qui m'a - ni - me af -

arm shall then be strong. Yes, 'tis God who ordains me. And to vie - t'ry con - strains me,
fer -mi - ra mon bras! Oui, c' est Dieu qui m'appelle, et je mar-che^fi^- dc - le.

w^ «rriir,^ff.ff-ff-r^ l

FRANKLIN SQUARE SONG COLLECTION

109

riAnin\:\\n'.'.:id \ \

and to vie - t'ry con - strains me» that im -pels me, that im* pels me a • long,
a la voix im - mor • tel • le, qui pre • ce - de, qui pre - ce • de mes pas.

hi'F'FF FF

r rT^t-

n

^m

^^— ■-

r .2J.' i ij.j I 'LL'iiJ-j;;j

Is it not God, the Lord, who comes to touch my heart? *Tis his voice that sus-
N'estce pas le Seigneur, qui vient toucher mon coeur? a la voix immor-

h"-HY | |;p::rfrgF-g i 'fF^'iiF'FF^

^^^^^^^^

tains me. That im - pels me, that im - pels me a - long. Ah ! yes, 'tis God or -
tel - le, qui pre- ce-de, qui pre-ce - de mes pas! Qui, c'estDieuqui m'ap-

F^i^ I 1 :

^^

^m

w

7>V v' i

^ ^

f^ . m¥A \ \A}Ui \\. um

,Andu

a volcnU,
dains me, to vic-t*ry he constrains me. His voice from heav'n sustains me, And impels me a-
pel - le et je mar-che fi • de • le, a la voix im-mor - tel - le, qui pre-ce • de mes

hiT hcggffgir f?[C PF i FB ft i ' ft' l

rra ^ i:i ^^^':rH l ^^j'^J-^ 1

long. By heav'n's own conse -era - tion This swotd shall save our nation With God's own an-i -
pas! quand ce fer le • gi - ti - me frap-pe-ra sa vie - ti - me le de -voir qui m'a-

m

i

[[[-gif ffffffffffff i i' ^^[[^ i

> > >

^ ad/t6.

f^ p iii i^if ' ^i ^^

z

ma - tion My arm shall then be strong. My arm shall then
ni • me af - fer - mi • ra mon bras, af - fer - mi - ra

be strong,
mon bras.

BS;^:

F £6gS?s i F^ ^

m

TIT

no

FRANKLIN SQUARE SONG COLLECTION

It is holiday time. The shop windows are already
gay. Even now the spicy fragrance of the pine woods
is in the air. The red holly berries gleam suggestively
through their dark green leaves, and one can easily
fancy that he hears in the distance the faint sweet
sounds that will soon burst forth in the glorious melody
of Christmas chimes. People begin to have a manner
suggestive of Christmas. There is a growing air of
general festivity. The children begin to talk about
Kris Kringle. Beyond all doubt the merry yule-tide

is now upon us. Centuries ago when the mystic stars,
were gleaming in their silent courses, and the lowly
shepherds were quietly watching their sleeping flock,,
celestial choirs rang out the first Christmas carol,
« Peace on Earth to Men of Good Will." The echoes
of that refrain have not died away, but to-day they ring
out as sweet and clear as on the first Christmastide.
Let this holiday time bring peace and good-will to all..
Peace to tired, aching hearts, peace to the busy, strug-
gling world — peace and rest. Let us make it in trutb

A HERMIT THERE WAS.

Animato.

Pbtbr Parlkt.

$uinu^iU\w\iii[ii'i \ iii^

mf

1. A hermit there was, and he lived in a grot. And the way to be hap-py he said he had got; As I

2. " The way to be hap-py they say you have got. And as I would learn it I've come to your grot. Now I

3. <<' Tis being, and do-ing, and having that m^e All the pleasures and pains of which mortals partake; To

i rrr i r

m ^\zZZ \ ^lZ \ e.lZ U i fff i fffifff

i iii\i'ii\ii^jmi \ ^i*Vh^^

wanted to learn it I went to his cell. And when I was there the old hermit said "Well!'* Tra la
beg and entreat if you have such a plan, That you'll write it me down just as plain as you can." Tra la
be what God pleases, to do a man's best. And to have a good heart is the way to be blest." Tra la

i

i

Tra la

^Np

?

la la la la la

^ f'p'f r f i a

la, la,

— 3?:

Tra la la, Tra la la, Tra la, la, la, la^

t^

p

la la la la,

la la la la la la, la, Tra la..

Tra

a holiday season. No one so poor or miserable but
can make a glad Christmas for some one else. Let us
get out of the shell of selfishness and indifference that
encloses us so tightly all the year, and see that some
one has a Merry Christmas and a Happy New Year.

" Comme dresse the house wyth Hollie boughs,
'Tis Christmas tyme.
Onne frosty ayre, fromme yondere slender spire,
BeUs sweetlie chyme."

From ten to fifteen minutes judiciously devoted to
music each day will enable many pupils to acquire
during school life the ability to read music at sight aS
intelligently as they read an English author. It has
also l^en shown that music has a disciplinary value
equal to that of any other branch taught in our common
schools, and rated among the essentials. It remains
then for teachers to say whether their pupils shall have
the inestimable advantages of a musical education.

FRANKLIN SQUARE SONG COLLECTION.

SUNSHINE AND CLOUD.

im

C. W. Glovbr.
J. E. Carpbntbr.

^j:.f i J^ i j,rJjuiuj,r i ;^ji^^_^ i. i i ^ ^

others, oh! why not for me?

2. Sunshine and cloud, love, pleasure and care, Oth - ers must bow to, and I too must bear ;

3. Sunshine and cloud, love ! would there be flowers Were not the sunshine oft mingled with showers ?

Andantino.

I . Sunshine and cloud j love, still there must be. Then if for

^5S-S-

afiactrt.

:?

iW

Bid me be hap-py oft as ye may,Thoughts will unbidden darken life's ray.
Thankful that o'er me still 'tis al - low'd Sunshine to mingle when there's a cloud;
So o'er our pathway clouds have been cast, But, shining through them, hope b«im'd at last I

<'-^f F frMpFfir^ifFf i fr^FF Fff

Still when 'tis darkest, light I can
That when 'tis darkest, light I can see.
So when 'twas darkest, light I could see,

Thou art the
Thou art the
Thou wert the

ing for me!
ing for me I
ing for met

tii.r:n,' i ' i prb i ffifFTrM;rs ii 't'

MUSIC OF LABOR.

I 1^ 1^ |. A RiNDBRCARTSN

| f f, 'l H-r- ^ . f |. hj .l , lj-,lil jjiJJ^^.:^J i ;ij, | .l/.ljii;

1. Banging of the hammer, whirling of the plane, Crashing of the hand-saw, creaking of the crane ;

2. Buzzing of the spindle, rattling of the loom, PufHng of the engine, fan's unceasing boom ;

3. Clinking of the type, earnest talk of men, Toil-ing of the press, scratching of the pen;

4. Busy sound of thrashers mid the ripened grain, Husker's glee so merry, moonlight on the plain ;

"I iiTifni li" [ fr i ^^^'ff'FfrF ff

| j'' ^Jj ^^J l |■°^t^' ^ •^ ' ^^^'^ ' ^l'^ |^^'^ ll ''"^f'^^' l ' l ^j

Ringing of the an- vil, grating of the drill. Cutting of the power-lathe, whirling of the mill.
Clipping of the shears, driving of the awl — These the sounds of labor, and I love them all.
Bustling of the market man hast'ning to the town, Halloo from the tree-top as ripened fruit comes down.
Kind voice from the dairy, shepherd's gentle call — These the sounds of labor, and I love them all.

tl^tr^fr

i— t^

fe

p^Ti*-

^

t— 1«»-

P

I V^^

r

112

FRANKLIN SQUARE SONG COLLECTION.

We are inclined to think that all the great violins
of the famous makers are well known. Most of the
celebrated instruments are given names of distinction,
such as the Yellow Stradivarius, the Blood Red
Knight Guamerius, the De Beriot Magini, the Gen-
eral Kidd Stradivarius Violoncello, the Servais Stra-
divarius Violoncello, and others. The reason why
Italian instruments are so superior to all others must
be ascribed to their exquisite make, the careful adjust-

ment of the various thicknesses of wood and the
varnish, the secret of which appears gone for ever.
Perhaps another reason may be named in the wood
being so ripe and dry as to permit free vibration. The
Cremonese obtained their color in oil. The modems
get it in spirit, which imparts a hardness to the tone.
Compare a Cremona with the German and other
imitations. The former is mellow and rich — the
latter too often flinty and harsh. This arises no doubt

WHAT CAN YOU TELL?

J. C. LOVKT, X890.

RossxTBR W. Raymond by per.

1. O what can you tell, lit -tie

2. O what can you tell, lit - tie

3. O what can you tell, lit - tie

4. O what can you tell, lit - tie

peb-ble, lit - tie peb-ble,

now-er, lit - tie flow-er,

bird, lit • tie bird,

child, lit - tie child,

what can you tell, lit - tie

what can you tell, lit - tie

what can you tell, lit • tie

what can you tell, lit - tie

^

^

^

P

*

-ir^

u;.rjPaj^iJJJ^n.lJj .ll , .l j4Jj

pebble by the sea? The se-cret of your si -lent life. Now whisper it to me I

pebble by the sea? The se-cret

flower on the lea? The se-cret

bird up-on the tree ? The se - cret

child upon my knee ? The se - cret

of your si -lent life, Now

of your sweet perfume, Now

of your joy- ous song, Now

of your hap- py smile. Now

whisper it to mei

whisper it to me!

whisper it to me!

whisper it to me!

^

r r ^f i r-fi^mf^^

sz

Fitll Chorus.

God in Heav'n, The God

i

=5feSt

It is the love of God

r *

who made

both

1- 1- ;x' h r i '

^

r r rg

God who made both

D. S. q/i€r last verse.

D,S, Thus to the love of God m Heav'n, The

U-r i n i j1il. ' l^" i ii^M

T

you
you
you
you

and me,

and me,

and me,

and me.

And ev' • ry day I think his praise

And ev'-ry day X breathe his praise

And ev' • ry day I sing his praise

And eV-ry day I seek his praise

^

p-p ff \ ffff\^

In ' si-lence by the sea.
In fragrance on the lea.
Up • on the sum- mer tree.
Up -on my bend-ed knee.

}SZ.

you and me, The praise of all things here is giv'n ! And ev - er- more shall be !

from the varnish, which, including the color, it seems
impossible to imitate. None of the famous makers
^eem to have adhered to one color only. Now a fine
violin appears of a deep, rich yellow, almost approach-
ing orange; another is a fine red, having something
•of a most lovely light cherry tint; again, these colors
are mixed by the best makers with amber varnish of
the purest and clearest consistency, and both colors

and varnish are perfectly free from that clouded ap-
pearance which so often disfigures modem instruments.
The effect is that of perfect transparency. You look
at a dear, perfect, rich color, as it were, through the
purest crystal. This is one of the certain indications
of a genuine instrument. The modems, as has been
said, seem unfortunately to have lost the secret of
making this lovely, transparent,, clear-colored varnish.

FRANKLIN SQUARE SONG COLLECTION. nj

OH, HAPPY DAY I „»„ i.»™«,. ™.

f!)^j J l J,^jJ l flJJJU^Jj l ^ i j^ ^

1 . Oh, happy day, that stays my choice On thee, my Saviour and my God ! Well may this glowing heart re -

2. Oh, happy bond, that seals my vows To him who mer - its all my love ! Let cheerf^ anthems fill his

3. Tis done, the great transaction's done ; I am my Lord's, and he is mine ; He drew me, and I followed

4. Nowrest,myk>ng-di-vided heart! Fixed on this bUssfol centre, rest; Here have I found a nobler

iiiirrTrrrir TfipFff i c:rffiP^

-I—;-

idee, And tell its rap - tures all a - broad,
house. While to that sa - cred shrine I move,
on. Charmed to confess the voice di - vine,
part. Here heavenly pleasures fill my breast.

m

Hap - py day, hap - py day. When Je - sus

Hap - py day, hap - py day. When Te - sus

Hap - py day, hap - py day. When Je - sus

Hap - py day, hap - py day. When Je - sus

r:ggf | f:pffp„ ^f i ^f'fir:fF

^ f jij^l g j lplppp l p-ppplg^ppplpppplg'

m

washed my sins a - way I He taught me how to watch and pray, And live re - joic - tng ev • 'ry day.

FFffti i rfr i p-iffrrfrr i P'rfni

MAJESTIC SWEETNESS.

4-

Samvbl Stbnnbtt.
Thos. Hastings. " Ortonvxllb.'

^llj l J d J i J jj j i j J^U^

^

1. Ma - jes - tic sweetness sits enthroned Up - on the Sav-iour's brow; His

2. No mor - tal can with Him com -pare. A- mong the sons of men; Fair

3. He saw me plunged in deep dis - tress. He flew to my re • lief; For

fip i r r!'rr-rf7t l ^^^l'f:|-^

^

^

«

J JJ J

^^

3

*:3:

Sqit

SIS

■S-^-et—m-s

^CJ ^'.s^i^I^

head with radiant glories crowned, His lios with grace o'erfiow. His lips with grace o'er - flow,
er is He than all the fair That ml the heavenly train, That ml the heavenly train.
me He bore the shameful cross. And car-ried all my grief, And car-ried all my grief.

..v ;..|-[YP|. -'i-^|'|,jj,JriHw]pH^f>^

4. To Him I owe my life and breath,
And all the joys I have;
He makes me triumph over death.
He saves me from the grave.
V— 8

5. Since from His bounty I receive
Such proofs of love divine,
Had I a thousand hearts to give,
Lord, they should all be Thine.

114

FRANKLIN SQUARE SONG COLLECTION

IN THE GOLDEN EVENTIDE.

Dolce,

cret ' C€H - ilo.

Cno PncsuTx.
Makt Mark-Lkmon.

I. I gave her a rose in the gold - en days When the mill-stream's song was still. And
gave her a rose in the af - ter days When the stream of life flow'd on, And

e l e <^ i

pu^ ■Ni'jjj jj- i jjii-^^a

clouds were float - ing to gild the west. Where the sun set o - ver the hill. And it
dreams were float - ing to gild our path, As they shone o'er mem - o - ries gone. And it

$

antmanda.

^

-^m

I J dim. fi con rs/r£u.

zai

ff=P

^

9=9

p

spoke the words I fain had said, And it told her all my dream. Once in the gold • en
spoke the love she knew so well. And it woke the old sweet dream. Once in the gold • en

m

FFF i rrffr i rTrnr i rrrff

e - ven-tide, On the banks of the sil - ver stream. Once in the gold- en e - ven-tide, On the
e • ven-tide, On the banks of the sil - ver stream. Once in the gold -en c • ven-tide, On the

I affrettandc,

Danks of the silver stream. 2. 1 3. I

banks of the sil -ver stream.

laid a rose on her silent heart. When the

i\ p gFpe i j^^i ii ^ftoFTgf Fg i^^

cen - do.

- cnx ' cen ' ao. dimtnuendo. •"•• "•" *. T'' 1 fc J 1

^

tide of her life was o'er, And an - gels float - ed to gild her path,

«=U=^

. 0. A -g?- T^ -0- -f- -f- 5== 1!^'^ 7^. ^

FRANKLIN SQUARE SONG COLLECTION, X15

if' IJil II III II M I ^' \\\\ II'

Near-er the heavenly snore. No long • er need the rose's voice awake the old sweet dieam.

No long • er need the rose's voice awake the old sweet dieam.

h^^ii{'tP'ir ^'U^'i\\'\'\'\r\\ II

4p ctmetprtu.

^i u^ ji3:jj i i Hi iI ^^lll 1 1

Dreamt in the eold • en e - ven-iide, On the banks of the sil • ver stream.

con amtma.

^,> p g g p ,j iJJ'^j .g: g |W' ; ^ ^^

Dreamt in the gold -en e-ven-tide, 6m the

ver stream.

-»-"^ -

THE WEARY ARE AT REST.

"MOYX.B/'

Amcibmt Irish Dxrgb.

1. Brother, thou art gone be -fore us, Where thy saintly soul is flown Tears are wiped a-

2. Sin no more can taint thy spir - it. Nor can doubt thy faith as - sail; Thou thy wel - come

3. To thy grave we sad - ly bear thee. Here in dust we place thy head; O'er Uiee now the

I^AJ ;IJ J r^PJ ^ ^ \ ^?^' ^ 1 ^ r^i

f^f~f

f

r

T-f

way for - ev - er, And all sor - row is unknown From the bur - den of the bo - dy,
hast re - ceiv-ed, Now thy strength shall nev-er fail; And thou'rt sure to meet the ho - ly,
turf is pressing, And grows green thy nar-row bed; But thy spir • it soars to glo - ry,

wFf [ififFf^ i ffp^r^-^F^

|if"iirrxi";iiiJi Wjpij:tfpp i Jfj iB

sea, Where the wicked cease f

... *'*r r T

From all care and fear released, Where the wicked cease from troubling, And the weary are at rest.

Whom on earth thou lovecTst best, Where the wicked cease from troubling, And the weary are at rest.

Free, among the faithful blest,Where the wicked cease from troubling. And the weaiy are at rest.

I rrj^:rn\rrTCi^\\rtri[\\\

ii6

FRANKLIN SQUARE SONG COLLECTION

To THE left was placed a harpsichord, near which
was standing a young girl whose face they conld not
see ; by her side, at the harpsichord, was seated an
elderly man upon whom the boy gazed with wonder,
so different was he from anything he had ever seen
before; opposite to them, m the window, hung a
•canary in a cage, and the boy perceived, even in the
surprise of the moment, that ue bird was agitated and
troubled. Hie Prince looked up as the two came in
and waved his hand for them to stand back, and the
next moment there burst into the room the most
wonderful voice which even the Maestro and the
Prince had well-nigh ever heard. The first chord of

that voice penetrated into the boy's nature as nothing
had ever done before. He had never heard any
singing save that of the peasants at church, and of the
boys and girls who sang hymns round the cottage
hearths in the winter nights. The solemn tramp of
the Lutheran measures, where the deep basses of the
men sometimes drown the women's soft voices, and the
shrill unshaded singing of the children, could hardly
belong to this ait, which he heard now for the fiist
time. These sudden runs and trills, so fantastic and
difficult ; these chords and harmonies, so quaint and
full of color, were messages from a world of sound,
as yet an unknown country to the boy. The Prince

THE YOUNG MAY MOON.

fe-n,fs-^^ i :r i J ;;fiJVJj i ;«^ i^

Thomas Moorb.

1. The young May moon is

2. Now all the world is

beaming, love, The glow-worm's lamp is gleam-ing, love; How
sleeping, love. But the sage his star- watch keep,- ing, love. And

f i S .^^cj-1'^ .r , r ^ii'-if^in m

sweet to rove Thro' Mor - na's grove, While the drowsy world is dreaming, love ! Then a
we whose star. More glo - rious fax^ Is the eye from that case-ment peep - ing, love. Then a

^ ^ ^

wake 1 the heavens look bright, my dear! 'Tis nev -er too late for de - light, my dear! And the
wake, till rise of sun, my dear 1 The sa-ge's glass we'll shun, my dear; Or in

i^' Hi ^ 'i^ ^^^\ iMu^' iu ,m

best of all ways To lengthen our days, Is to steal a few hours from the night, my dear,
watching the flight Of bod-ies of light, He might happen to take thee for one, my dear.

tt; Egg[: gi6ggEii i m^- ^^ i c:ry

moved his hand slightly in unison with the notes.
Then suddenly in this world of wonders a still more
wonderful thing occurred. There entered into this
bewitching, this entrancing voice, a strange, almost a
discordant, note. Through the &ntastic gaiety of the
tUeme, to which the sustained whirr of the harpsi-
chord was like the sigh of the wind through the long
grass, there was perceptible a strain, a tremor of sad-
ness, almost of sobs. It was as if, in the midst of
festival, some hidden grief, known beforetime of all,
but hidden or suppressed, should at once and in a
moment well up into the hearts of all, turning the

dance-measures into fimeral chants, the love-songs in-
to the loveliest of chorals. The Maestro faltered in his
accompaniment, the Prince left off marking the time
and leaned forward eagerly in his seat. The pathetic
strain went on, growing more tremulous and more in-
tense, when suddenly the singing stopped, the girl
buried her face in her hands in a passion of tears ; the
boy sprang forward, he forgot where he was — " It
is the bird," he cried, "the bird!" The canary,
whose dying struggles the singer had been watch-
ing through her song, gave a final shudder and fell
lifeless from itB perch. — ^^LUtU Schoolmaster Mark^^

FRANKLIN SQUARE SONG COLLECTION.

"7

ONCE AGAIN
P

LiOMSx. H. Lbwiw.
Aktrux S. SuuJVAir.

I. I lin -eer round the ve • xy spot Where yean a -go we met. And won-der when yoa

1. I lin -ger round the ve • xy spot Where years a -go we met. And won-der when yoa

2. For, ev • er yet my thoughts incline, And back my memory slips I I feel warm fin • gen

— ^~ ^ '^ 1^" 1^^ T^^ ^^ ]^_«. — ' * — _ to

.ii IT i r.C F F i F'f ?■ ! • i f r r r r e . ■ ft !

y^^. jj- j i 'J:'>J:Vr[r L - t i Hb' i rlf;r4i i 4^.rJ'[

quite for - got — Or if you quite for - get ! And tender yearnings rise anew, For love, that used to
lockM in mine, I see those quiv'ring lips. Whose murmurs came like music thro*, When mine had set them.

ndl.

be! — If you could know that I was true, And I that you were free! Ah,,
free ! That all the world was naught to you. Who on • ly want - ed me 1 Ah,..

^'^ \ '^ \ m\ mA \n'?f \ \vi''^^

^'\^^M r \ r M m:} \nl\\i \ i^^^

Love, once a •gain. Meet me once a - gain ! Old love is wak-ing, Shall it wake in

wmp€uti9n4K

v;^,\\^)^ii\' \ \-\^ \ ^\ \ \\\ \ \'i^ \

vain? Love, once a • gain, Meet me once a - gain! Old love is wak • ing.

Shall it wake in vain? Shall it wake in vain? Shall it wake, shalfit wake in vain?

r^lill\i[\\ \ ^ I" ^ii\ fir III

ii8

FRANKLIN SQUARE SONG COLLECTION.

The Dark Angel of Death was standing outside
Ihe musidaa's door, for little Anita, Maestro Nar-
^iltti's child, was &ding away; no tears, no prayers,
^ould avaO, not even Carissima's lovely voice. Ca-
nssima's voice was hushed; the Maestro had no
heart to take up his dearly-loved violin and play to
soothe his sorrow, as he had done many years ago
w^ien his wife died and left this little one behind.
Heaven had given him the divine gift of genius and
had bidden him call aloud to the world. So Caris-
^a and he had played aloud together through

sickness, through sorrow and success, and throudk
all the changing scenes of life they had been &im-
fiil friends. They had just come back from the
crowded hall; the people said that never before had
the Maestro played so beautifully, and that never be-
fore had the Tiolin's voice sounded so mournful and
pathetic. Well, you see, they did not know the
reason, but we do ; for both were thinking of the little
dying girl, and how could their thoughts be anything
but sorrowful, or the outward expression of diose
thoughts be anjrthing but mournful ? The father was

THE TIME OF THE SINGING OF BIRDS.

George Barkbx.*

fiij lJ'^Jj^iv^^Jj jyii^jj JV^ ^

1. The timeofthesing-mg of birds is come. The trees are robed in green; The

2. A - way in wood -lands wide and deep The shad - owy grass ben£ low. Be-fore

3. But not o*er meadow and wood a -lone Doth their spell of beau-ty steal; There are

flow'rs un - fol^ their ^nts ofgold. And the fair pink maybe seen; 0*er all the land doth a
winds that creep where daisies deep, And the dainty wind-flow'rs blow. And deep in the heart of the
hu - man hearts whose bit - ter smarts Its smile hath power to heal. The time of the singing of

prom • ise lie. The her • aid of Sum-mer's reign; At the gold -en beat of her
dim old woods The sun -beams fair have strayed; Like shafts of light they have
birds is come, And we pause ino\u:wea-ry way. While the sad hearts Dirillandthe

iry-f-gr gglpf f Fip'^g^Jf-^

f . 1 i . 1 u \ ^ ^r ^ ^^^

^-X-

t

m

ly - ing feet The old Earth smiles a - gain,
pierced the night By the arch - ing bran - ches made,
sad eyes fill . At the -^^-

^^

breath of the scented May.

fe

m

z=*

gz J- X

:t=

^ ¥ U

weeping by his child's bedside. But she said, " Do
not weep, sing to me— «ing me to sleep, for I am so
jireaiy, dear father, and the evening has been so long
without thee." TTien he rose and he played to her,
and she closed her eyes and listened happily to Ca-
rissima's voice. It sang a song without words — the
music alone told the tale^-of a pure young life, too
pure for earth, and therefore to be taken away to that
fair land where only the good and pure and true
dwell. " Yet it was hard to leave Ae earth, harder
still to leave the dear ones behind, and to know that

they would be desolate ; and here the violin's voice
sobbed and trembled as if from sorrow, and the
melody came sadder and softer, as describing the
very parting which was soon to take place ; then the
lingering notes died away, and the Maestro's hand
was still. <*Is that all?" murmured the child; "oh,
play again." Once more, and the air resounded with a
psalm of triumph — the same melody, but no longer soft
or sad, for the gates of that Fair Land were opened
wide, and amidst this jubilant strain the child had
passed away with the Angel of Death. — Belgravia.

FRANKLIN SQUARE SONG COLLECTION

119

A SPRING SONG.

AlUgrtiio mod4rat0.

CiHO PiMsun.

f|)ijijjji jj i j ij J 1 3 3 3 Jij ] 3 jF

X. T sat be-neath the ma -pies old. The meads were shot with green and gold. And

- neath the ma - pies old. The meads were shot with green and gold,
2. The bos - y bab - bling wa • ter - fall Me - lo • dious - ly kept time to all, The
3.0 love - ly, love - ly, love - ly spring ! O robed in sunbeams! bridegroom, king! Breathe

un - der-neathmy feet there rolled The lit - tie sil - v*ry Gad; The cuck-00 and the
rich May mu - sic mys • ti • cal, Toned to the fresh-'nine air; Each rip - 'ning bud that
oil my heart and bid me sing, Or rath - er praise and pray; For em - Slems are these

roji r I g " ri^T J ut.g j Jig .1^^

thrush were sins - ing, singing, sii^ging, The sheep bells on the hills were ringing, ringing,
o - pcB, fre3i-ly o - pen flies. Seemed gasping with a gay sur-prise, a gay sur -
sun - ny, bright and sunny hours, These golden meads and stream and flow'rs, and stream and

rrrrrrrr i rrnrrrr i rrrrrrrr i

SfF

I ^ — ^^.« ii^-- — 1^- — 1^ -* — 1^ " y ■ fc^ — ^

la U la la

h & K

B1- m'A

1 1 ' 1 #1 ^ ^

ring-ing. All life was gav and glad, all life was gay and glad, All life was gay and

prise To greet a world so fair, to greet a world so fair, To greet a world so

flowers. Of ev - er- last -ing May, of ev - er- last -ing May, Of ev - er- last -ing

120

FRANKLIN SQUARE SONG COLLECTION.

THE DISTANT SHORE.

Allegro commodo.

^-^

W. S. GiLBSirr.

Arthuk SuLLIYAir.

?f=s;

iR?

1. A maid -en sat at her door, And sighed as she looked at the sea; "I've a

2. The maid - en dried her eyes, And a smile shone o • ver her face, For she

ms-

i'4^ff ff^ f l 1rf fi|>^N

w=^

i j'j , M-r{Hijjjii ,, i ^.r. ,N-i i d:i{ i jj?-r-r E

dear, dear love, on a dis - tant shore, A - dy • ing for news of me, IVe a dear, dear love, on a
saw bright hope in the changing skies. As the wmd new off a - pace, She saw bright hope in the

^

ffgfirtregrrrFfffp'ffgifffi!!!

r j j Mi jjj ^ i .-l *}j\i.iM j^ji ^

dis • tant shore, A - dy - ing for news of me." And the wind was lis • /en -ing near, And
changing skies, As the wind flew off a - pace. And she bade the kind wind good speed,

H>Vi'ii,^-| i j^^jiplEr-^J i Hi^jjji

saw that the maid was feir. So the kind wind whispered a hope in her ear. As he
«Hur-ry,0 wind," Said she, "Oh, say that I love him in -deed, and in-deed."Andthe

^

e^ cf i F ^ FT i ^^F g ^ i ^^^fF F

r J ^jfjyiA^^iw i J u *j \tj ^^

played with her bright brown hair. " Be of good cheer, sweet heart, I fly to that dis • tant
wind cried o - ver the sea, — "Be of good cheer, sweet heart, I fly to that dis - tant

ti^f^gpe^ip'^ i F^ffr i f >r i ffF^

lif,M.riip[ [ P rii .r.r.^ iiij.iijijjiji

him

u r r

shore, Thy lov - er I'll tell thou lov-est liim well, Ev - er and cv - cr more." 3. The

I 'I t* U

j » ^

^^

t»=ftc:

m

^=*=«
^=^

Ammaio. eres.

FRANKLIN SQUARE SONG COLLECTION.

121

n=^

St

^^

a * :;

i3=St:

wind tore o - ver the wave, Scat-ter-ing o - cean spray, But a -lack! the lov - er he

r 'J: Ji 'i\i Vg i -Mii J l /'j j ;:' l ^

flew to save, He met on his homeward way. And his good ship sank in the gale, And

^ ^ m — i-«M
r-'ry soul oe - side,

And the wind came sobbing to tell the tale, And the maiden drooped and died.

-^

-^

fi Stawtr.

rjiijji l j.; l j^'r^ ^

u^

^

H

J J J

Be of good cheer, poor heart, At rest on a distant shore,'Where thou and thy love walk hand in hand.

r i ffffF i rr i f Ffrr i , ^r%

I f J j/jj:u,hJiJJ J ju. i i j JJ ^

£v . er and ev • er - more ! Be of good cheer, dear heart. At rest on a dis - tant

^^ m. eujtne. ^-

y"r,i,Pr-',i,nr

dim.

^EK

I I

shore. Where thou and thy love go hand in hand, Ev - er and ev • er - more.

122

FRANKLIN SQUARE SONG COLLECTION

We do not find in nature what may properly be
called music, but only its materials and its laws.
Man only can create music, for nothing is perfect in
creation until, in some way, it touches or passes thro*
man. He is the end and object of creation, and its
processes are full and have meaning only when they
issue in him. Everything in nature is a puzzle until
it finds its solution in man, who solves it by connect-
ing it in some way with God, and so completes the
circle of creation. Like everything else m nature,

music is a becoming y and it becomes its full self when
its sounds and laws are used by intelligent man for
the production of harmony, and so made the vehicle
of emotion and thought. But sound even before it be-
comes music may be the occasion of emotion, though
not of complex emotions, or, we may say, intelligent
emotion. It is the peculiarity of the sounds of nature
that they awaken but a single emotion ; each thing has
its note and some one correspondixig feeling. Enter
at evening a grove of pines and listen to the wind

THE FOOT-TRAVELER

AMtmato.

Gbrmaiv Stitdbnts' Somg.

foot I gaily take my way, Tra la la la k la,

2. No snail-paced friend I want, not I, Tra la la la la la,

3. This is the mer-ry singer's way, Tra la la la la la,

4. Foot-trav-el to the gay is sweet, Tra la la la '- ^-

0*er mountam bare and meadow pv, Tra
At ev - 'ly step to pause and sigh, Tra
His footpath is wiUi ros-es gay, Tra
But heavy hearts make heavy fec^ Tra

4. Foot-trav-el to the gay is sweet, Tra la la la la la. But heavy hearts make heavy feet, Tra

Mi;of ;i j);i^ i frfF i flTr ifTi\n,ri'|i|'rfri

la la la la la, And he who is not of my mind, Mother traveling mate may find, He

la la la,' And he who is not of my mind. Another traveling mate may find,"^ He

la la la. No gloomy man to scowl and groan. And over other's sins to moan, I'd

la la la, In every land where song is known. Where music meets an answering tone. That

la la la. The man who loves the sunshine bright. And never peeps behind for night, That

wrFn: i f'r^FPr MF^ F ef^ i F FF i

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^

can- not go with me. He can-not go with me, Hurrah I hurrah ! tra la la

rath- er trudge a-lone, I'd rath-er trudge alone, Hurrah ! hurrah I tra la la

land his own must be, That land his own must be, Hurrah ! hurrah ! tra la la

is the man for me, That is the man for me. Hurrah I hurrah ! tra la la

1

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la, hurrah ! hur .
la, hurrah ! hur -
la, hurrah ! hur -
la, hurrah ! hur -

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■^

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rah! tra la la la la, Tra la.

Tra U,

Tra la la la la la

mf FFf-FFir ?' Hf gFif ?rf iff 1?:^^

sighing through the branches; the term by which we
spontaneously describe it indicates the one feeling of
pensive melancholy it awakens, but an orchestra
could not render it more effectively. It lacks, however,
the quality of intelligence because it is not combined
with other sounds for some end. The song "What
are the wild waves saying?" raises a question hard to
answer. It is not a hymn to the great Creator until
it has passed through the adoring and reflecting mind
of man. But even if there is no music in nature — ^not

even in the notes of birds, as the men of science tell
us, for the birds but whistle — there are the materials
of music, all furnished with their notes set to corres-
ponding emotions; and the gamut is broader than
has been compassed. Beyond the reach of the ear
of man is a universe of sound — ^vibrations slower and
deeper than those of Niagara, Quicker and finer than
those of the mosquito's wing, ana each is dowered with
power to awaken some emotion that now we do not
feel because we do not hear the sound. — Hfutiger.

FRANKLIN SQUARE SONG COLLECTION

OUR HOME IS ON THE SEA.

123

J. Ofpbhbacr.

j ',Mh.n l j;J4UJ^ J'J^ | , | . - , | J | ^^i»^1 . K- l^

1. Our home is on the sea, O'er the waves as we gailjr glide, Our songs are of the free,

2. We never think of care, Nowwith gladness our spirits beat, Our hopes are bright and fair.

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As we float o'er the tide.
As our songs we re - peat.

•yow joy-OQs-ly we ride, Ev - er singing cheer - i - ly,
And ne'er can we de - spair While our days are ev - er sweet,

[[r^TTr[i'r^n ri'ri''yi,rTriri

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fes^

We gai - ly ride, we gai • ly ride, We gai - ly ride, we gai - ly ride. We joy-ous-ly

ve gai - ly ride, we gai • ly ride. We gai - ly ride, we gai - ly ride. We ioy-ous-ly
We gai -ly ride, wegai-ly ride, Wegai-ly ride, we gai-ly ride. Wejoy-ous-ly

m

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EZ*i a.

ride, joyously ride, We gaily ride, joyously ride, £v - er singing dieen • ly, Ev-er singing cheen -

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iy t Oh, merrily we're singing, Joy is ever bringing Roses fair to crown the hours of merry, laughing

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B

lay ; Onward as we're flying, Ne'er we think of sighing, But our hearts are gay as birds in May.

,^\m \ ^i\i^Hlh^mMA^

124

FRANKLIN SQUARE SONG COLLECTION

Horatius Bonar is one of our most successful hymn-
writers. No other name appears so frequently as his
since the days of Watts and Wesley, Newton and
Cowper. He has had the rare fortune to express the
deepest of Christian feeling and the loftiest of Christian
praise. But, strange to say, even his own congregation
are rigid Psalm-singexs to this day. He comes of a
poetical family. l£s grandfather. Rev. John Bonar,
also wrote hymns, some of which found acceptance.
Dr. Bonar was bom at Edinburgh in 1808, and edu-
cated at the high school and the University there. His
theological instructor was the celebrated Dr. Thomas
Chalmers. At the time of the disruption, he followed
his old teacher, and Dr. Guthrie, and the rest of the
illustrious leaders, in the establishment of the Free

Church, with which he has ever since been ecdesias*
tically connected. In 1837 he was ordained and settled
at Kelso, on the river Tweed, near the English border.
In this charge, he succeeded his &ther-in-law/Rev.
Robert Lun£e. In 1866 he removed to Edinburgh,
where he has since remained the pastor of the Grange,,
or Chalmers' Memorial chur<^. His pen has been
constantly busy through all the years of his mature life.
His •• Kelso Tracts " were the early fruit of that pro-
ductive zeal which has so enriched the literature of the
church at large. He has seen at least one extensive
revival which can be traced to those pages scattered
broadcast Some of the later writings of this spirit-
ually-minded and marvelloudy acute man have oeen
circulated on both sides of the ocean with great ac-

A FEW MORE YEARS SHALL ROLL

^)H',S | jjjj|^

Horatius Bonar. 1856.
R«v. Dr. Hatns. "CHBX.Tmr.'

t

^m

^

^

1. A few more years shall roll,

2. A few more suns shall set

3. A few more struggles here,

4. 'Tis but a lit -Ifc while

^

A few more sea-sons come.
O'er these dark hills of time,
A few more partings o*er,
And He shall come a - gain,

-4-

And we

And we

A few

Who died

t

shall be with
shall be where
more toils, a
that we might

E

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those that rest A • sleep with -in - the tomb: Then, O my

suns are not, A frur se - ren - er • clime : Then, O my

few more tears, And we shall weep no more : Then, O my

live, Who lives That we with Him may reign: Then, O my

Lord, pre
Lord, pre
Lord, pre
Lord, pre

pare My

pare My

pare My

pare My

fOol
soul
soul
soul

for that ereat day
for that blest day;
for that bright day ;
for that glad day;

wash me
wash me
wash me
wash me

Thy precious Blood, And take my sins
Thy precious Blood, And take my sins
Thy precious Blood, And take my sins
Thy precious Blood, And take my sins

a - way.

a • way.

a - way.

a - way.

ceptance. His two little books, «God*s Way of Peace"
and ** God's Way of Holiness," would relieve many a
troubled Christian if he would turn to them in prefer-
ence to abstract theology. Like all that Dr. Bonar
does, they are eminently scriptural and practical. A
visitor to Dr. Bonar's church (about 1876) has given
this pen portrait of him : " The striking feature of his
frice IS the large, soft, dark eye, the power of which one
feels across the church. Tliere are no bold, rugged
lines in his face ; but benevolence, peace and sweetness
pervade it The first thought was, * He is just like his
hymns — ^not great, but tender, sweet and tranquil.' And
every thing he did and said carried out this impression.
His prayer was as simple as a child's. His voice was
low, quieti and impressive. His address, for it could

scarcely be called a sermon, was founded on the words,
' The Spirit and the Bride say Come,' the last invita-
tion in the Bible. It was marked by the absence of
all attempt at originality, which is to an American so
striking a featiure of most foreign preaching. It was
simply an invitation — ^warm, loving, urgent. His power
over Uie audience was complete. Even the children
looked steadily in his face; once he paused in his dis-
course and addressed himself espedally to the Sunday
School children who sat by themselves on one side of
the pulpit. I was sure the little ones never heard the
Good Shepherd's call more tenderly given. With
one of the most wiiming faces I have ever seen he
closed : « Whosoever— that includes jfou — ^whosoever
wiU-^oes that include yoifiV "^English Hymm^

FRANKLIN SQUARE SONG COLLECTION.

"5

LANDING OF THE PILGRIMS.

Felicia Hsmaiis.
Mm. Brownb. "Plymouth Rock.'

I f 'l J ll ri jIN jI/jj JUv; l j.g-j; p

1. The breaking waves dashed high On a stern and rock-bound coast, And the woods against a

2. Not as the conqueror comes, They, the true-heart -ed, came; Not with the roll of

3. A • midst the storm they sang, And the stars heard, and the sea! And the sounding aisles of the

4. What sought they thus a - for? Bright jew - els of the mine? The wealth of the seas, the

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Storm • y sky Their gi • ant branches tossed; Andtheheav-y night hung dark "fne

storm • y sky Their gi • ant branches tossed; Andtheheav-y night hung dark
stir- ring drums, And the trumpet that sings of ^Eune; Not as the fly - ing come. In
dim wo»^ rang To the an • them of me free. The o - cean ea - de soared From his
spoib of war? They sought a faith's pure shrine; Ay, call it ho - ly ground, The

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hills and wa • ters o'er, When a band of exiles moored their bark On the wild New England shore,
si - lence and in fear ; They shook the depths of the desert gloom With their hymns of lofty cheer,
nest by the white wave's foam, And the rocking pines of the forest roared,This was their welcome home !
soil where first they trod ! They have left unstained what there they found, Freedom to worship God.

i. n. i i j. imHr^^m'i^T ' \ \ \

I LOVE THY KINGDOM, LORD.

Timothy Dwight.
G. F. Hakdbl. " St. Thomas.'

y-i \ i ^J i '.yj m

rhy king - dom. Lord, The house of Thine a - bode,
rhy church, O God! Her walls be - fore Thee stand.

w

1. I love Thy king - dom. Lord, llie house of

2. I love Thy church, O God! Her walls be

i

i

^

^

S

F

Re - deem - er saved
pie of Thine eye.

The Church our
Dear as the

blest
ap -

WUh
And

His
grav

own
en

pre - dous blood,
on Thy hand.

For her my tears shall fall,
For her my prayers ascend;

"To her my cares and toils be given,
Till toils and cares shall end.

Beyond my highest joy,
I prize her heavenly ways,

Her sweet communion, solemn vows.
Her hymns of love and praise.

Sure as Thy truth shall last,

To Zion shall be given
The biightest glories earth can yield.

And brighter bliss of Heaven.

126

FRANKLIN SQUARE SONG COLLECTION.

The celebrated * Swedish Nightingale,' Jenny'Iind,
was bom at Stockholm, 1820; nine years Utter slie was
in the training school of music. For three years she
sang children's parts on the stage, for four years more
was almost deprived of the greatest pleasure of her
life 1^ the partial loss of her voice. As the time was
busily occupied in the study of instrumental music, it
was not lost, and the sudden return of her wonderful
voice in all its beauty and strength started her on the
career which won her renown. Her first regular
character on the stage was Agatha, in *<Der Frey-
schutz," but she subsequently studied in Paris with
Garcia and Meyerbeer, not without some previous
discouragement from the former, and returned to
Stockhohn amid the enthusiasm of her people, before
she made her start in her first tour of Europe, at Dres-
den, and achieved her great triumph, in 1044, ^^ ^^f'

lin, as Vielka in the <<Camp of Silesia.'* This wa»
written ^cially for her by Meyerbeer, who remained
her fast mend until his death. Jenny Lind's success-
was so great and continuous, that when she made her
first [appearance in London, in 1847, she was wel-
comed as the first singer of the day, and her phe-
nomenal voice has probably been unsurpassed by any^
of the great singers who have succeeded her either
upon the concert or operatic stage. Her first concert
in America was given at Castle Garden,, New York,,
on Wednesday evening, Sept. ii, 1850. Most of the
tickets were sold at auction, the first being struck off
at ^22^. The first ticket that was sold in Boston was
to Ossian E. Dodge, composer of ^ Ossian's Sere-
nade," for I625. The great puterre and ^ler^ of
Castle Garden were divided by imaginary Tines into
four compartments, each of which was designated by

COME, REST IN THIS BOSOM.

Thomas Moorb.

IM ; i j ;■ ;U J^JI^g: /1J ^4-^ ^!

1. Come, rest in this bo - som, my own strick • en deer; Tho' the herd have fled

2. Ohl what was love made for, if 'tis not the same Thro' joy and thro'

3. Thou hast call'd me thine an - gel, in mo - ments of bliss, — And thine an • gel ril

from thee, thy home is
sor - row, thro' glo - ry
be 'mid the nor - rors

still here: Here still is the smile that no

and shame? I know not, I ask not if

of this, — Thro' the fur • nace, un- shrink- ing, thy

^'N jj i f/J i j IJ \ ^ ii \ ^ m m

rrf

doud can o'er - cast. And a heart and a hand, all thine own to Qie last!
guilt's in that heart, I but know that I love thee, what - ev - er thou art t
steps to pur - sue, And shield thee, and save thee, or per • ish there * too I

\\^ll \ f U \ f ff' ff iF E F i rgp f - i

a lamp of a peculiar color. The tickets were printed
in colors corresponding with the location which the
holders were to occupy, and there were one hundred
ushers with rosettes, and bearing wands tipped with
ribbons of the same hue.. Though five thousand
persons were present, their entrance was marked by
the most perfect order and quiet. The reception of
Jenny Lind on this, her first appearance, in point of
enthusiasm, was probably never before equalled in
the world. As Mr. Jules Benedict, leader of the or-
chestra, led her toward the footlights, the entire audi-
ence rose to their feet and welcomed her with three
cheers, accompanied by the waving of thousands of
hats and handkerchiefs, and the casting of bouquets
before her. This was by far the largest audience be-
fore which Jenny had ever sung. She was evidently
much agitated, but the orchestra had conmienced, and

before she had sung a dozen notes of "Casta Diva,"
she began to recover her self-possession, and long be-
fore the scene was concluded she was as calm as if
sitting in her own drawing-room. Enthusiasm was at
its highest pitch, for the musical powers of Jenny Lind
exceeded all the brilliant anticipations which had
been formed, and her triumph was complete. When
Mr. Bamum, whose contract was for 100 concerts at
1 1 000 each and expenses-— though she was paid nearly-
double this amount — announced that the entire pro-
ceeds of this first concert would go to charitable ob-
jects, it seemed as though the audience would go>
wOd with applause. Vast audiences everywhere
awaited her, municipal, musical and other deputa-
tions tendering her honors, and during every perfor-
mance there was a constant succession of hurrahs,,
encores, and other demonstrations of intense delight*

FRANKLIN SQUARE SONG COLLECTION.

127

PEACE ON EARTH

Modtretto.

DowizExn.

J. R. LOWBLL.

1 . *<What means this glory round our feet," The Magi mused, '<more bright than mom !" And voices chanted

2. 'Tis eighteen hundred years, and more, Since those sweet oracles were dumb ; We wait for Him, like

3. ^ round a - bout our feet shall shine A light like that the wise men saw, If we our lov - ing

rWffl i epFF l FFgPlPFFg l frf F l PFP

| fM,j.lj l Jj-jJij:^J JI JJ'JJ1»V.I ^

dear and sweet, "To-day the Prince of Peace is bom !" **What means this star," the shepherds said, "That
them of yoie; A - las! He seems so slow to come! But it was said, in words of gold. No
wills in -dine To that sweet life which is the Law. So shall we leam to un • derstand The

brightens thro' the rocky glen ?" And angels answering, overhead, Sang, Peace on earth, good- will to men !

time or sorrow e'er shall dim, That lit - tie children might be bold, In perfect trust to come to Him.

simple faith of shepherds, then, And kindly clasping hand in hand, Sing, Peace on earth, good-wUl to men !

¥mt:

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m'^ T g

IN MERRY CHORUS.

J. Offbnbach.

l ifi " i J1.1 1 J i , i jrrir'. iii ^.i. ii iiir [

1. Come, let US join in mer-ry cho - rus. Our hearts and voices light and gay; The sun of

2. Oh, there is mu - sic on the mountain. When winds are whistling wild and free ; Tho' frozen

3. Now let our hearts, with pleasure beating. Join in our grateful, joy - ous lays; We ev - er

"""i'^rr i ^^rn^^ ^ rr ' ^ ^ rr' ^ -^fr

r j; J JJ Ja/Ji^p^^JiThiffT^

f

joy shines brightly o'er as, For 'tis the happy Christmas day :
be each stream and fountsun, Vliit rolk the song from sea to sea.
look for kind -ly greet-ing These glad-return -ing, hap- py days.

4=i-

^

uvUti^l

WM^^t

Tra
Tra
Tra

^

a^

la, la,

la, la,
la, la.

Tra,
Tra,
Tra,

la, la,
la, la,
la, la,

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Jhtne.

La, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la.

^

la, la,

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g 3 g 3 g B g gig g g lAM g ; l lg g g B I i

128

FRANKLIN SQUARE SONG COLLECTION

The two most pkasingi expressive, and powerful
single instruments of music are the human voice and
the violin. The one, the gift of beneficent nature,
has from Uie creation exercised its touching influence
on the human soul— the other, the product of the in-
genuity of man, has only within the last three cen-
turies attained to perfection; but since that period
what enjoyment, what rapture it has occasioned,
when in the hand of genius ! While the melodious
tones of Grisi and Mario, Jenny Lind and Campanini,
have touched with sympathetic feelings the hearts
and imaginations of spell-bound listeners, how have

the magic tones of Paganini and others wrapped the
souls of wondering thousands in an elysium of de-
light! What effect of the voice cannot be produced
by the violin, except that of speech? The violin in
the hands of genius can draw tears or create laughter.
\Vhoever has heard the great masters of this extraor-
dinary instrument, has heard all the sweetness of
tone, the intensity of feeling, the power of expression
that the most gifted sons and daughters of song could
possibly produce without the additional aid of speech.
The violm, in £a.ct, in its power of expression far ex-
cels those singers, of whom there are too many, who,

MEET ME BY MOONLIGHT.

Andante alUg

J. A. Wadb.

1. Meet me by moonlight a - lone. And then I will tell thee a tale Must be told by the

2. Daylight may do for the gay, The thoughtless, the heartless, the free. But there*ssomediing a-

gigs

I

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moonlight a - lone. In the grove at the end of the vale ; Thou must promise to come for I
bout the moon's ray, That is sweeter to thee and to me; Oh! re -member, be sure to be

said I would shew the night flowers their Queen, Nay, turn not a - way thy sweet head. *Tis the
there, Fortho' dearly a moonlight I prize, I care not for all in the air If I

Wi^mm \ i^^ \ i\ i JJia i j

^

lov - li - est ev - er was seen. Oh ! meet me by moonlight a • lone. Meet me by moonlight^alone.
want the sweet light of thine eyes, So meet me by moonlight a - lone. Meet me by moonlight alone.

pg

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whUe singing the notes, fail to make their hearers
understand the meaning of their songs. If a merry
dance is produced by the agile bow, its spspathetic
tones at once excite a corresponding feeling. If a
plaintive air streams in delicious and heart-touching
cadences from the strings, what soul is there so dead
to feeling as not to respond? The perfection of the
violin is that its master, if alive to the subtle and
mysterious influences of the imagination, can sing
upon it the most perfect and touching ** songs without
words." It is besides the only instrument, except the

voice, which is perfect Every shade of expression,
every nicety of tone can be produced on it. All
other instruments are defective in comparison with
the violin, because they can not do this. They are
all more or less imperfect ; and, therefore, fail in those
subtleties of expression of which the violin and the
voice are both such able exponents. What eratitude do
we owe, then, to those great masters of Cremona,
more especially to the Amati and Stradivarius, who have
succeeded in bringing the violin to its present state of
perfection.— /Vtfr«*j " Violins and VioRu-MakersJ*

FRANKLIN SQUARE SONG COLLECTION

MISTRESS SANTA CLAUS.

139

Ada S. Shbltoh.

tf,ji, i jj,r^ijjj/ij.jjj ij J U .1.1 J I

S^irtUd.

1. Of an the ba - sjr people roand, This bu - sy Christmas -tide, None works like Mis • tress

2. The North Star briglmy uiimng down Giyes all the light they need, For <* How to Oimb a

3. They've dolls in ev-'iy cor-ner there, They've dolls on all the chairs; Piled high on ev - *iy

4. The reindeer now are harnessed fast, The toys packed in the sleigh; And San - ta Qaus wrapped

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jjjjirr;;!; ;\^;i9\m^

San - ta Oaus For days and nights be - side;
Chimney" is The on - ly book they read,
cnpboani shelf. And all the way up- stairs;
up in furs. Soon dashes on his way.

The good old man, her stur - dy spouse. Has

But Mis-tress Clans is work-ing hard On

Bnt not a stitch of cloth • ing would Ob

But, as he goes, cries, smil - ing back, ** I

so much now to do, If Madame Qaus did not take hold He nev • er would get tnro'. Oh ! a

so much now to do, If Madame Qaus did not take hold He nev • er would get tnro'. Oh ! a

dresses, bonnets, sacks. And there are lots of clothes to make For all the jumping-jacks. Oh ! a

an - y doU be seen, Un • less his wife were there, for he Can't sew on a na- chine. For a

nev-er in my life Could do so much forbo>s and girls Without so good a wifel" So, a

^

helpmeet wise is his wife, In their home at Rehideer Hall, .'Mid icebergs cold her

I " uHH(liU' \i \ i ini \ i i^ Vi ^

g ', Jj^ i „j;^il:^jV;^jjjjj;ji j tj ^

heart is warm. Planning hap • pi - ness for all! A helpmeet wise is his wife

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In their home at Reindeer Hall, Warm her heart for aye To the " Merry Christ • mas !

" call!^

1 '^'' rugs? ngSV'gaTC i '^^'gC'pr'g II I

V-9

i$o

FRANKLIN SQUARE SONG COLLECTION.

An eminent sculptor, enamored of beauty, since his
whole life was given to its expression, either in the
picturesque, the graceful, or me sublime, was once
present at a reception, and that for the sole purpose of
meeting a lady noted for her marvelous symmetry of
form, her rare perfection of feature, and brilliancy of
complexion. At first sight his expectations were more
than realized ; but as the play of the countenance in
conversation is to beauty of feature what light b to the

landscape, our sculptor was eager to secure an intro-
duction, which was readily accorded. The conversa-
tion, however, was not prolonged. The common-place
remarks of the introduction were enough to satisfy tiie
artist. '* Would that she had not opened her mouth,"
s^d he, as he left her presence, as soon as politeness
would permit. ** The memory of her beauty would have
been a pleasure to me all my life — but that voice,
those insipid words, have broken the charm forever!"

JESSIE, THE FLOWER 0' DUMBLANE.

Robert A. SMmi.

ROBBRT TANNAKIU.

e sun has gane down o*er the lofty Ben Lomond, Andleft the red clouos to preside o'er the scene ; whi]

I . The sun has gane down o*er the lofty Ben Lomond, And left the red clouos to preside

2. She's modest as o - ny, and blithe as she's bonnie, For guileless simplicity marks her its ain ; And

3. How lost were my days till I met wi' my Jessie 1 The sports o' the ci^ seemed foolish and vain ; I

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lane • ly I strav in the calm sinmier gloamin'. To muse on sweet Jessie, the flow'r o' Dumblane. How

far be the villain, di - vested of feelin' , Wha'd blight in its bloom the sweet flow'r o' Dumblane. Sing

ne'er saw a nymph I would ca' my dear lassie, Till charmed wi' sweet Jessie, the flow'r o' Dumblane. Tho'

sweet is the brier wi' its saftfaulding blossom, And sweet is thebirkwi' its man-tie o' green; But
on, thou sweet mavis, thy hymn to the e'e-nin',Thou'rtdearto the echoes of Calderwood glen , Sae
mine were the station of'^ loft - i • est grandeur, A - midst its pro-fii-sion I'd languish in pain, And

rh^y . fV,

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n ;"'iJ :rj'j:f];r::f^:r.idi; 4 JJj.^ i ijJij

sweeter and fair- er, and dear to this bo-som. Is love - ly young Jessie, the fiow> o' Dumblane, Is
dear to this bo-som, sae artless and winning, Is charming young Jessie, theflow*r o' Dumblane, Is
reckon as naething the height o' its splendor. If wanting sweet Jessie, the flow'r o' Dumblane, If

^

love- ly young Jessie, Is love - ly young Jessie, Is love - ly young Jessie, the flow'r o' Dnmblnne.
charming young Jessie, Is charming young Jessie, Is charming young Jessie, the flow'r o* Dumblane.
wanting sweet Jessie, If wanting sweet Jessie, If wanting sweet Jessie, the flow'r o' Dumblane.

[ yi?c^r[[jui;VfrrfTi F:r Fr i l l

tst

FRANKLIN SQUARE SONG COLLECTION.

ALL AMONG THE BARLEY.

ChfrfiOly.

131

Elizabbtm Stxrlxmo.

m

1. Come out, 'tis now September, The hunter's moon's begun. And thro' the wheaten stubble Is

2. The Spring, she is a young maid. That does not know her mind, The Summer is a ty-rant Of

3. The wheat is like a rich man. That's sleek and well to do. The oats are like a pack of girls,

' ^ # ^ ■ p * ^ — ^^ ^ ^ ^ -^ ♦

^

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heard the^ fre-quent gun; Come out, 'tis now September, The hunter's moon's begun. And
most un • right - eous kind. The Spring, she is a young maid, That does not know her mind. The
Laughing and danc-ing too, The wheat is like a ri(£ man, That's sleek and well to do. The

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hble

thro' the whealen stub-ble Is heard the frequent gun ; llie
Summer is a ty-rant Of most un • righteous kind; The
oats are like a pack of girls. Laughing and dancing too; The

^^m

e c i pg~ sp' 8ir:Si rr g

leaves are paling yel • low. Or
Autumn is an old friend. That
rye is like a mi • ser, That's

^9 ^ ^

f

W=^

If j'j';;ij.Jj i Jjf'M^ i\i-U'i

^

kindling in • to red, And the ripe and gold-en bar - ley
loves one all he can. And that brings the hap- py bar -ley,
sulk - y, lean, and small. But the free and bearded bar - ley

Is hang -ing down its head.
To glad the heart of man.
Is monarch of them all.

7 jjj ij j i jJ j jij J JlJj'JJlj

All among the bar - ley. Who would not be blithe. When the free and hap-py bar - ley Is

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smil-ing on the scythe ? When the free and hap-py bar - ley Is smil-ing on the scythe?

kFF^nr: fFirfFf i f tf i rrff i pa

ija

FRANKLIN SQUARE SONG COLLECTION.

Creation is interpreted to us by five senses, which
are the one bridge between ourselves and the world
of matter— one bridge of sensation, but dividing, as
it were, at the end where it touches man, and becom-
ing si^, hearing, smell, taste, and touch. If man
were considered as made up of mind and heart and
an animal nature, sight m^ht be regarded as re-
vealing creation to hb mind, hearing to his heart,
smell and taste and touch to his animal nature. The
distinction is only apparent and is vaguely general,
for as the five senses are but one sense of touch, so
man is one. But the distinctions are practically valu-

able, and are necessary to a classification of knowl-
edge, fiy the eye we discover an immeasurable
universe packed with thoughts, or laws and processes
that are based on thoughts— chiefly mathematical;
for whatever else the universe may be and mav ex-
press, it is mathematical ; and mathematics, as all will
confess, touches only the intellectual side of us. It is
true that we may see, and feel by seeing, but if crea-
tion were revealed to us only thro' the eye, we should
know far more than we should feel. So another or-
gan is provided that shall bring creation to us as emo-
tional Dcings— the ear, conveying sound. — Mtmger,

DREAMLAND.

Mrs. Chas. Barnard.
As sung by Parrpa-Rosa.

y " J J J^/j j jl J^ J j HVj tfJ i\T^

I.I see my home in the twilight dim. In the pur - pie shadowy light. And

2. I dream of the spring-time long a - go, Its birds and its flowers I see. And

3. I hear Uie Im - net from out the elm. And the bees txom the mignonette. And the

ma - ny a thought of by - gone years Comes o • ver my mind to • night. I

fai - ryshow'rsof rose and white Come down from the ap • pie tree. I
sights and sounds of the old spring-time Seem to hov • er and haunt me yet. Dear

crf'frprF i FFr B'ffipg ^F:Eii'r^

fr'"j:JJ{i l j:iJJJlr''jj J.ll J J|

hear the sound of the dis • tant bells Ring-ing in sil • ver tone. For

hear the voi - ces of oth • er days. And the tears fall one by one. For

voi - ces that I nev - er hear. To *^^^ ^^* mectL - 'ry gone. For

\^^,rffffrffff^' P' l 'frp^ ^

f^u m i\\,]\n \\ n\ L 1^1 'I I

thoughts come and go as they will to-

^^

, As I dream by my fire a - lone. For

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w-

thoughts come and go as they will to -night. As I dream by my fire a - lone

r r r

r=5=r

FRANKLIN SQUARE SONG COLLECTION.

133

CHRISTMAS SONG.

i

A. AnAM.

CaMTIQVS IM NOBL."

^ M^^mM^^'T t'^^SJ;l]^

I. Oh, 0OI - emnhonr! when hearts were lowly bending, And all the world seem' d enshrouded in

3. Oh, love

3.

yjOf BUI - vuiuiiviwi wucuusiwui» wcic;ivw«jr u«uuuij(,.rLuu«uiiu« wviiuscciu U casoroiKiCa iU

Oh, love - ly hour 1 when light first faintly gleaming. And hearts were fill'd with a rapture di-
Oh, what delight I to hearts bowed down with sorrow, When cheering words o'er our Md spirits

l !f A , i.i.^j i :hf:J JJj;- il J.r'J'J. ; i.'.^^Ji J Ji

night ; When pleading prayers to Heaven were as - cend • ing, Above the gloom smiled a spir-it of
vine; Led by the star whose rays were brightly beam -ing, Came eastern sa-ges round that ho-ly
£&11 ; Tho' dark the night, still comes a brigSt to > mor-row, When trusting hearts on their dear Savio

Saviour

¥^^

PF F'gif'g'BSlBiP Wi i Ff- fF Fg i

Bg

H fA i J.'JN^ I ^lJ;H-,H ^J l j j j J i

light; 'Twas Hope's bright form they saw sobright-ly shin -ing In robes un • fad - ing
durine; While there they saw the King of Glo - ry sleep • ing, Our Friend, Pro- tec - tor,
call; Then let each voice in giate -ful notes as -cend -ing, Ex - tol His name, the

mJJJM 47^^^¥!frgTOt

^ — m-

P^reet their tearful eyes; Beau - ti • ful Hopel
in a manger laid; Their hearts were glad,
bond, the slave, the free, All shout His praise.

no Ion • ger hearts re-pin - ing, As

and sad eyes ceased their weeping. For

in love and concord blending. In

Wi. ^'^f-^^fA\i-fMPTt4iF^^ \ j: f ^f I

love and joy on wings of ftiith a -rise, As love and joy on wings of fiutha-rise.
Faith was twin- ing wreaths that never fade, For Faith was twin-ing wreaths that never ftide.
songs of faith and im - mor-tal • i - ty ! In songs of faith and im • mor-tal-i - ty!

.#r J8,

134

FRANKLIN SQUARE SONG COLLECTION.

The origin of these Slave Songs is unique. They are
never" composed " after the manner of ordinary music,
but spring into life, ready made, from the white heat
of religious fervor during some protracted meeting in
church or camp. They come from no musical cultiva-
tion whatever, but are the simple, ecstatic utterances of
wholly untutored minds. From so unpromising a source
we could reasonably expect only such a mass of crudi-
ties as would be unendurable to the cultivated ear. On
the contrary, however, the cultivated listener confesses
to a new charm, and to a power, never before felt, at
least in its kind. What can we infer from this but that
the child-like, receptive minds of these unfortunates
were wrought upon with a true inspiration, and that this
gift was b^towed upon them by an ever-watchful Fa-
Sier, to quicken the pulses of Ufe, and to keep them
from the state of hopeless apathy into which they were
in danger of frdlmg. A technical analysis of these

melodies shows some interesting Deicts. The first pecul-
iarity that strikes the attention is in the rhythm. This
is often complicated, and sometimes strikir^ly original,
and it is remarkable that the effects are so satisfactory.
Another noticeable feature of the songs is the entire ab-
sence of triple time, or three-part measure among them.
The reason for this is doubtless to be found in the beat-
ing of the foot and the swaying of the body which are
such fi^uent accompaniments of the singing. These
motions are in even measure, and in perfect time ; and
so it will be found that, however broken and seemingly
irregular the movement of the music, it is alwa)^ capa-
ble of the most exact measurement. In other words, its
irregularities invariably conform to the "higher law"
of the perfect rhythmic flow. It is a coincidence worthy
of note that more than half the melodies are in the same
scale as that in which Scottish music is written ; that is,
with the fourth and seventh tones omitted. The fact

NOBODY KNOWS THE TROUBLE I'VE SEEN.

Slavs Htmn.

i'li^ii ji'. «r' i j' ^'^ '^ i ^i /n^ ^P

Oh, no -bod- y knows the trou-ble I've seen. No -bod- y knows but Je - sus!

m

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^

^,^ j^ j^. JJJJJ J IJ: Jj j 1 ^1 jlj j^ ^

No-bod-y knows the trouble I've seen, Glo - ry Hal-le - lu - jah! {^'^^^;,^^y^^^^^

No-bod - y knows the trouble I've seen, Glo - ry Hal - le - lu - jah ! / One day when I • was

' '^\lnev-er shall for-

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times I'm down. Oh yes, Lord, Sometimes I'm al - most to the ground. Oh yes. Lord.]

going alone so. Oh yes, Lord, I have my tri - als here be - low. Oh yes, Lord. J

walk-ing along, Oh yes. Lord, The element opened, and the Love came down. Oh yes, Lord. }

get that day. Oh yes, Lord, When Je - sus washed my sins a - way. Oh yes. Lord, j

^

H - ifF i p: M - I - ^^

that the music of the ancient Greeks is also said to have
been written in this scale, suggests an interesting in-
quiry as to whether it may not be a peculiar language
of nature, or a simpler alphabet than the ordinary dui-
tonic scale, in which the uncultivated mind finds its
easiest expression. The variety of forms presented in
these songs is truly surprising, when their origin is
considered. This diversity is greater than the listener
would at first be likely to suppose. The themes are also
quite as distinct and varied as in the case of more pre-
tentious compositions. The reader may feel assured
that the music as here given is entirely correct. It was
taken down from the singing of the Jubilee band, during
repeated interviews held for that purpose, and no line or
plurase was introduced that did not receive full indorse-
ment from these singers. Some of the phases and turns
in the melodies are so peculiar that the listener might

suppose them to be incapable of exact representation by
ordinary musical characters. It is found, however, that
they all submit to the laws of musical language, and
if sung or played exactly as written, all ue charac-
teristic effects will be reproduced. — Tk^, E, Seward.
The song given above, is a favorite on the Sea Is-
lands, off the coast of South Carolina. Once, when ill-
feeling was excited and trouble anticipated because of
uncertain action of the Government m regard to the
confiscated lands on those islands. Gen. O. O. Howard
was called upon to address the colored people. To
prepare them to listen, he requested them to sing. At
once an old woman on the outskirts of the meeting
began, " Nobody knows the trouble I've seen," and the
whole audience joined in. The plaintive melody, and
the apt refrain of the rude hymn, produced an effect
th«t con Qcrer be ibisc>tten by those who heard it snng.

SLAVE HYMNS
P

FSANKLW SQUARE SONG COLLECTION.

>3S

'.1^N' , .|J... ^ l|j.J' j Ji.J ^^gi

h k S S K

^ll fTJ J J J J

jngdown.!

Jiuter.

1. Oh, Lord, Oh, my Lord, Oh, my good Lord! Keep me from sinking down. I tell you what I mean

2. Oh, Lord, Oh, my L(Mrd, Oh, my good Lord ! Keep me from sinking down. I look up yonder and what

3. Oh, Lord, Oh, my Lord, Oh, my good Lord ! Keep me from sinking down. I bless the Lord I'm going

W^

to do ; Keep me from sinking down ; I mean to go to Heaven too ; Keep me from sinking down,
do I see ? Keep me from sinking down ; I see the angels beck*ning to me ; Keep me from sinking down.
to die; Keepmefromsinking down; I'mgoingto judgment by and by; Ke^ me from sinking down.

r. ^■ M F:r;j:J:.H;j-Jyf!g- gl f"j3' l:r lll

eStt

HE" 3 THE ULT OF THE VALLEY.

He's the li-ly of the val-ley. Oh I my Lord; He's the li-ly of the val-lev. Oh! mv

Fine,

S^

raJJlerrg i r ^Af MP'J'Jlcrrg i rf^fftP

U'.^JlJJJJlJJ ||J -||.'.'|JJ^V' ,||:^

m

1. King Te - sus in His chariot rides, Oh ! my Lord, With four white horses side by side, Oh ! my Lord.

2. What icind of shoes are those you wear, Oh I my Lord, That you can ride upon the air. Oh I my Lord?

3. These shoes I wear are gospel shoes,Oh 1 my Lord, And you can wear them if you choose, Oh ! my Lord.

^

irrrrirrriP-fiPTirrrrirrri^ ^

MANY THOUSAND GONE.

hflkftffg i ^.jjij'j, i /j , Lj.i.ri jij i j j,j j| i

ty Plainiwely.

I . No more auction block for me, No more, no more. No more auction block for me. Many thousand gone.

¥m I - l fF l [p - I - l iF:[;[ Tpi

:2. No more peck of com for me, etc 3. No more driver's lash for me, etc. 4. No more pint of salt for me, etc
OETTINO READY TO DIE.

h f/M-' I 'l-iJ I j

t

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i

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^

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Getting ready to die, Getting ready to die, Getting ready to die, O Zi-on, Zi-on.

n.c.

ijMlJJJ. il JJ^ l j'-,^

jjjjijjj i j,^^

1. When I set out I was but young, Zi-on, Zi - on, But now my race is almost run, Zi - on, Zi • on.

2. Re - ligion's like a blooming rose, Zi - on, Zion, And none but h im that feels it knows, Zion, Zi - on.

3. The Lord is mcaitiag to receive, Zi - on, Zi • on. If sinners only would believe, Zi - on, Zi • on.

136

I'RANKLIN SQUARE SONG COLLECTION.

Like almost everybody else I opposed the Tonic
S0I-& because I did not know anything about it, and
when I heatd that it did away with the staff notation
I was the more opposed to it, and would not listen to
any exposition of its merits. However, it happened
that somebody came and asked me to explain to him
what it was, and why it would not do to teach it in
our schools, when so many teachers use that method
in England with great success. I then concluded to
post myself thoroughly, so that I oould denounce it as
folly and waste of time to nuke an attempt to do
away widi staff and notes. I happened to meet a man
who was sent here from England as an agent to in-
troduce the system. One of the first things he said
was, that it was not the intention to do away with the
staff notation, but> that almost every teacher would

experience that the staff notation was a hard thing to
teach, which means to the pupil a hard thiiig to learn.
I could not deny that, and he questioned me how
long we let our pupils in the public schools sing in one
key, that is, in the natural J&ey^^the key of C. When
I told him for five or ten years, he said, *< Well, you
can save all that time, for the Tonic Sol-fa teaches all
the keys in the same time that you spend in that one
key." This is no exaggeration, for as the Tonic Sol-fa
is a movable do method, do is the key-note for every
key in major, as is /s in every minor key. But since
do in the key of C is written d, and in the key of G, D,
A, E, and so on, in the some way T d ) and the whole
scale in the Tonic Sol-fa in any k^ is written this way :
d r m f • 1 1 d^ — initial letters, with one exception, of
do, re, mi, &, sol, la, si, do— a different letter for every'

YOU AND ME.

„ ^ hi*. . ». Thomas Moors.

I. Thoe is dew for the flow'ret. And hon-ey for the bee; And bowers for the

I. TEere is dew for tlie flow'ret. And hon-ey for the bee;

3. There are teats for the man-y. And pleasures for the few;

3. There is care that will not leave us. And pain that will not flee;

4. Our love, it ne'er was reckoned. Yet good it is, and tnze;

id bowers for the
But let the world pass
But by our hearth, un-
it's halfthe world to

Y m ri \ iii \ ^ii \ ii^^^\f.^- \ ^ll^

rr

wUd burd, And love for you and me; And bowers for the wild bird. And

burd, And love for you and me; And

on, dear, There's love for me and you, But

al •tered. Sits love 'tween you and me. But

me, dear, It's half the world to yon. It's

wi^ffif'F^Mr-g'iFl^

bowers for the wTldbird, And
let the world pass on, dear, There's
by our hearth un - al- tered. Sits
half the world to me, dear. It's

fW^jMy^ x UiW^ ir/JJ i j ii i

love for you, tor you and me, And love for you and me,
love for me, for me andyou. There's love forme and you,
love, sits love 'tween you and me. Sits love 'tween you and me,
half the world, the world to you. It's half the world to yon,

•^11

J^y;f

Love for you and me.
Love for me and you.
Love 'tween you and me.
Half the worid to you*

W^f!f?^hC'f|ff^'PI

rtep — ^it is only necessary to mark a piece of music key
/>, key Fy k^ Gy key Eflaty key FminoTyZxA so on.
The pupils having practised the intervals, indicated
by the initial letter, and not being pazzled, as in the
movable do method, by measuring from the key-note
and observing signature and accidents, the whole dif-
ficulty, commonly called transposition, is done away
with. A great deal of the difficulty in singing music
in time, or rather, keeping the time, is obviated by
placing the notes inside of the measure, so that Uie pu-
pils see the division of the measure as it is intended
to be sung plainly before them ; for when they are to
sing two notes or four notes to a beat, as the Tonic
Sol-faists call it, a <* pulse" {^ptUsus is the Latin word
for beat), they are placed within the space allowed for

that beat In spite of these &cts, I was not satisfied
until I had induced one of the music teachers of our
public schools to try the Tonic Sol-fa in one of his
schools in different grades, and I had the satisfaction?
of hearing the lowest and the highest grades of the
district sing exercises within less than three months-
that by our method it usually takes the whole year to
accomplish. Since the main thing in teaching music is.
the education of the musical ear, I claim tluit this is
accomplished in an easier way, for reasons given above,,
by the Tonic Sol-fa method than by any other known
to me,^and that when this is accomplished it will be the
proper time for the staff notation, since it will be a
slight change to introduce new or other characters to>
represent what is already known.— 6^. F, Junkerman,

FRANKLIN SQUARE SONG COLLECTION.

ROSE OF LUCERNE.

»37

^ v-r *-iw \ . 1^ fc Swias Mblody.

N0t too stem,

1. I've come across the aefttrTebtmveder'rydaiigari For a brother dear to me, from Sv^ Then

2. I've paint and I've perfome^or such as may choose them, Young ladies,perhaps you all will refuse them,The

3. Come round me, ladies £sir, I've ribbons and laces, I've trinkets ridi and rare to add to the graces Of

4. I've a cross to make you bright, your breast well may bear it, Just o'er your little heart I warn you to wear it,In

Liiiil i||i|l|i|f^iiL ii i | |i ffMir

k f,j:-J-f.fHJJlHj^H i'J i J.f-rj'ij^^i^^.| |

pi - ty, as- siflt and pro- tect the poor stranger, And buy a lit- tie toy of poor Rose of Lu -
bloom on your cheek shows that von never use them. Yet buy a lit- tie tor of ooor Rose of Lu-

;3 -^ ^^^ CT-^

ty, as- sist and pro- tect the poor stranger. And buy a lit- tie toy of poor Rose of Lu -
>loom on your cheek shows that yon never use them, Yet buy a lit- tie toy of poor Rose of Lu-
waist, neck or arm, or your sweet pret - ty &-ces. Then buy a lit- tie toy of poor Rose of Lu-
hope that no oth - er cross e'er may come near it. Then buy a lit • tie toy of poor Rose of Lu -

ceme, a lit -tie toy, a lit -tie toy, Then buy a lit -tie toy of poor Rose of Lucerne.

fci-^pyU^Mij^

^

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1^

E

»-^-i»-

THE MOUNTAIN BOY.

i. The moun-tain shep-herd-boy am I, The cas - ties all be - low me spy. The

1. The moun-tain shep-herd-boy am I, The cas - ties all be - low me spy. The

2. The moun-tain tor - rent's home is here, Fresh from the rock I drink it dear; As

3. I daim the moun-tain for my own, la vain the winds a -round me moan; From

Nff i B f.ll^\ r: ng gf p i f ^^

k ^

ff S k k iqs

ifjnii ^ ^U^^^^^^^

^33^

sun sends me his eariiestbeam, Leaves me his lat- est ling'ring gleam. I am the boy of the
out it leaps with furious force, I stretch my arm and stop its course. I am the boy of the
north to south let tempest brawl. My song shall swell a - bove them all. I am the boy of the

V\^iiii^l^ ^ \^ll\\Uft% ^m^

-I I 1 1 Ik Ik ik h. Grace nottistiimg.

moun - tain; I am the boy of the moun - tain; I am the boy of the moun - tain.

K f i ffffffir figffggffgif M

138

FRANKLIN SQUARE SONG COLLECTION.

SILENTLY, SILENTLY.

Spamish Mbloot.

^HJj i ;;'; i j;j;' i s^NiJJS

. lyl Ope

1. Si- lent - lyl Si - lent- lyl Ope and close the school-room door; Care- iul • ly

2. Cheer-fill - ly! Cheer -ful - ly! Let us in our work en -gage. With a znll

3. Now we sing! Now we sing Gai - ly as the birds of spring, As they hopl

bjfTf i f f pig gFF i g e ne^ ^

fJ,'.r,rj i ^;.rj i i;ijjjj i .N.i i Jjj ^

care-fnl - ly walk up -on the floor! Let us, let us strive to be From dis • or - der

with a zeal! Far be-yondour age: — And if we should chance to find Lessons that per-
as they hop. On the high tree -top I Let us be as prompt as they. In our work and

jJJiJjj i J; ' . ii ,j'jf j'N. - 1

ev - er free : Hap - pi - ly, Hap • pi - ly Pass - ing time a - way.
plex the mind. Per - se - vere ! Per - se - vere ! Nev - er, nev - cr fear,
in our play; Hap - pi - ly, Hs^ • pi - ly Pass -ing time a • way.

Kfrr I f ff i f fr i rf [[II" ^

COME TO THE MEADOWS.

Lmui Folks.

[i 'iiL^'Njirjj,ii.[j ;jjj ijj ^j ,

{CometoUie meadows where primroses grow. But -ter-cups looking as yel-low as gold,l
Daises and cowslips be - gmning to Uoonit 'Tis a most beau- ti- ful sight to be-hold.j
{Birds and in- sects are hap-py and gay. Beasts of the field are glad and re-jdce. |
We will be thankfid to God ev - eiy day, Praising His great name with rev-er-ent voice, j

KiicTggFi' i i'Ffr'igSbglE'EEEpi

'h ^J^-^l-^JlJ^JJ^i^lfV^'

^^^

h N Nl w N h lHII

^r-^ iiii. •if * ' * "^^ti

f Bus - y bees humming a - bout them areseen. The b
\ Grasshoppers chirp in the hedg - es so green, The h
f He made the meadows. He planted the flowers, He S(
\ He made these wonderful bod-ies of ours, And I

, 3 a I < g \i.t^^

ut-ter-fly hap-pi- ly flut-ters a-long.1
n - net is sing-ing his live - li - est song, j '
et His bright sun in the heavens to blaze. 1
sngas we live will we sing toHispraifwt. j'

Ml f •- —

—

—

1 p ^ ^ Y r

— b-H-f-=^- — fm

Nt* ^ t-t-

^

^

ggC'gCg"''"

FnANKLIir SQUARE SONG COLLECTION.

139

OCTOBER'S PARTY.

Ax.BX. Ln.

H'ii ' i. i .W»^JV/ J'i ^ JiJJJ

1. Oc • to-bergave a par - ty; The leaves by hundreds came, — ^The Ash- es, Oaks and

2. The Chestnuts came in vel - low, The Oaks in crimson dress; The love • ly Miss • es

3. Therein the rus - ty hoi - low, At hide-and-seek they played; The par - ty closed at

^^? | c^g^ i fTFT | gg^g | fiiggif i

f

ghrj'/j i JJjy i j

JMl^iJL^

*=*

Ma - pies. And leaves of ev - *ry name.
Ma - pie Were radiant like the rest,
sun • down But ev -'ry - bo - dy stayed.

The sun -shine spread a car
All bal-anced to their part
Pro - fes - SOT wind played loud

pet. And

ners, And

er; They

^

ra'Hci'bb i r^HbrrriFFFF

9EZI

j;J/ i j, M^iiiiji J i Jijj ji^ m

ev • 'rything was grand ; Miss Weather led
gai-ly fluttered by; The sight was like
flew a-long the ground; Andi^^en the par

the danc - ing, Pro • fes -sor Wind, the band,
rain • bow New-fall - en from the sky.
-ty end - ed 'Twasjol-ly** hands all round."

ffgF^irpiFFfgifgf f i gfifff i *

LONDON BRIDGE.

Play-Txms Somo.

>?llj^j7j jy i |. J.MJ:JJilJj';. l

1. Lon - don Bridge is brok - en down. Dance o - ver, my La - dye Lea;

2. How shall we build it up a - gain? Dance o - ver, my La - dye Lea;

3. Sil • ver and gold will be stolen a - way, Dance o - ver, my La - dye Lea;

itt\).^fitt ff \ f f%\

^m

m i-4 ^ii ip y i r g . 1 A ' lF U. i jri J

Lon - don fridge is brok •

How shall we build it up

Sil - ver and gold will be stolen

en down. With a gay La - dye.
a - gain, Wth a gay La - dye ?
a - way, With a gay La - dye.

: fe j^^>?-f f ^ ^

w^m

Iron and steel will bend and bow.
Dance over, my Ladye Lea;

Jron and steel will bend and bow,
With a gay ladye.

Wood and day will wash away,
Dance over, my Ladye Lea;

Wood and clay will wash away,
With a gay ladye.

6.

Build it up with stone so strong.
Dance over, my Ladye Lea;

Huzza ! 'twill last for ages long.
With a gay ladye.

I40

FRANKLIN SQUARE SONG COLLECTION.

" My Maryland ! " was written by Mr. James R.
Randall, a native of Baltimore, and now ( 1887) re-
siding in Augusta,[Georgia. The author was a profes-
sor of English literature and the classics in Poydras
College, Louisiana, where in April, 1861, he read in
the New Orleans Delta the news of the attack on the
Massachusetts troops as they passed through Balti-
more, " This account excited me greatly," Mr. Ran-
dall writes, '*I had long been absent from my native
city, and the startling event there inflamed my mind.
That night I could not sleep, for my nerves were all
unstrung, and I could not dismiss what I had read in
the paper from my mind. About midnight I rose, lit
a candle, and went to my desk. Some powerful spirit
appeared to possess me, and almost involuntarily I
proceeded to write the song of My Maryland. I re-
member that the idea appeared to take shape first as
music in the brain — some wild air that I cannot now

recall. The whole poem, of nine stanzas, as originallv-
written, was dashed ofiF rapidly when once begun.^'
There is often a feeling afloat in the minds of men,.
undefine<l and vague for want of one to give it fonn,
and held in solution, as it were, until a chance word
dropped in the ear of a poet suddenly crystallizes tfai&
feeling into song, in which all may see clearly and
sharply reflected what in their own thought was shape-
less and hazy. It was Mr. Randall's fortune to be the
instrument Uirough which the South spoke. By a
natural reaction his burning lines helped «to fire the
Southern heart." To do their work well, his words
needed to be wedded to music. It was left for a lady of
Baltimore, Miss Hattie Gary, now the wife of Ftof.
H. N. Martin, of Johns Hopkins University, to lend
the lyric the musical wings it needed to enable it to*
reach every camp-fire of the Southern armies. « The
glee dub was to hold its meeting in our parlors one

MY MARYLAND.

Jas. R. Randaix, x86i.

|l''JjlJJj;/ l ^'^'U'.Nj | j';,fj^|J;,f^

1. The despot's heel is on thy shore. Ma - ry-land, my Ma - ry-land ! His torch is at thy

2. Hark to an ex - iled son's ap-peal. Ma - ry-land, my Ma - ry-land! My Mother-State, to

3. Thou wilt not cow - er in the dust, Ma - ry-land, my Ma • lyland! Thy gleaming sword shall

up.».r,jj i .f.jjj | j.jj.^ i -r.j^:J|.r.j^ g

Bi¥

tern • pie door. Ma - ry-land, my Ma • ty -land! A - venge the pa - tri - ot • ic gore That
thee I kneel! Ma- 17- land, my Ma -ry- land! For life and death, for woe and weal. Thy
nev - er rust. Ma • ry - land, my Ma -ry-land! Re - mem -ber Carroll's sa-cred trust. Re

BfFtff i psr^eig'^f'giF'gp

cz

-^^

L J ^7f,J|JJJ| | J.Jjj | J7J | ^^Jj | g

flecked the Streets of Baltimore, And be the bat -tie-queen of yore, Ma-ryland,my Ma -ry-land!
peer • less chi v - al - ry reveal , And gird thy beauteous limbs with steel, Maryland, my Ma - ly-land !
member Howard's warlike thrust And all thy slumberers with the just, Maryland, my Ma - ry-land I

piffifiHff i ff'ffrfBr i t'ffff i pgi

^

EZ

evening early in June," she writes, "and my sister
Jennie, being the only musical member of the family,
had charge of the programme on die occasion. With
a school-girl's eagerness to score a success, she re-
solved to secure some new and ardent expression of
feelings '^that were by this time wrought up to the
point of explosion. In vain she searched through her
stock of songs and alxs — ^nothing seemed intense
enough to suit her. Aroused by her tone of despair,
I came to the rescue with the suggestion that she
should adapt the words of ' Maryland, my Maryland,'
which had been constantly on my lips since the ap-
pearance of the lyric a few days before in the South.
I produced the paper and began declaiming the
verses. *Lauriger Horatius!' she exclaimed, and in
a flash the immortal song found voice in the stirring
air so perfectly adapted to it That night, when her

contralto voice rang out the stanzas, the refrain rolled
forth from every throat present without pause or pre-
paration; and the enthusiasm communicated itself
with] such effect to a crowd assembled beneath our
open windows as to endanger seriously the liberties of
the party." Lauriger Horatius has long been a &-
vorite college song, and it had been uitroduced into
the Cazy household by Mr. Burton N. Harrison, then
a Yale student. The air to which it is sung is used
also for a lovely German lyric, Tannenbaum, O Tan-
nenbaum, which Longfellow has translated ^'O Hem-
lock Tree." The transmigration of tunes is a large
and fertile subject. The ta^ng of the air of a jovml
college song to use as the settSig of a fiery war-lyric
may seem strange and curious, but only to those
who are not fiuniUarwith the adventures and transfor-
mations which a tune has often undefgonc-^^a/M^tetf.

FRANKLIN SQUARE SONG COLLECTION.

141

FAIR LAND OF POLAND.

M. W. Balps.
From '* BoHBMiAN Girl."

AUtgro martuaUi

1. When the fair land of Poland was ploughed by the hoof Of the ruthless in - va • der, when

2. When the fair land of Poland was swept by the sword. And the blood of her bttt like the

h'i,i^->FWHF^5iF BF ^ff i rE'S

►Mft-

¥

yi: .M'j i ,jj;Ni;j,i j. :iif i :j; . : j fl

T

might With steel to the bo - som and flame to the roof. Com - pie • ted her triumph o'er
rain. Flowed drenching the soil, 'mid the lives there outpoured Were the bravest in bat - tie e'er

ff HJi'l^M^fU ri^rj^jiyLi

right When the flock was untend - ed, the herd without care. And the war-cry of le - gions was
slain. In that moment of danger when Freedom invoked All the fet-ter- less sons of her

rife, Then my blade with the foremost in bat - tie was bare And fore -most I rushed to the
pride. In a pha • lanx as dauntless as freedom e'er yoked, I fought and I fell by her

pf^^-^^K\ \ i iij;j'jij.iy^ ji

JSFfr

strife. My birth is no • Ue, unstain'd my crest As is thine own, let this at -test. My
side. My birth is no - ble, unstain'd my crest As is thine own, let this at -test, My

% r**T r s r

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y^\ iit^ ^

p i ^<?i i \

^

t^uiagii

te

3

^

^s=s^

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birth is no - ble, unstain'd my crest As is thine own, as is thine own, let this at - test

@^^

m m
WWW

I J m M T - m W W ^ M ^ —m

I ' u i# k-^-i^-r-r^^T-
I > \^ ^ ^ ]^ \^

n

^ k^

^

143

FRANKLIN SQUARE SONG COLLECTION.

It is astonishing how many violins are imported
into this comitry annually, especially if we consider
that there is but one place in Uie world where violins
are made extensively. That place is Markneokirchen,
with its surrounding villages, Kltngenthal, Fleissen,
Rohrback and Graslitz, in Saxony, Gennany. There
are altogether about 15,000 people living there who
do nothing else day after day Ixit make violins, and it is
interesting to see them at work. The inhabitants, from
the little urchin to the old gray-headed man, the small

girl and the old grandmother, are all engaged in mak>
ing some parts of a violin. A good instrument consists-
of sixty-two different pieces. They are cut, planed,
smoothed and measured, everything being accurate
and precise with the model. The older men make the
finger-board from ebony as well as the string-holder and
the screws. The small boys have to make themselves
usefril by looking after the glue-pot on the fire and
bringing their elders things as they want them.. A
man with strong, steady hands and a clear eye put»

WHERE GADIE RINS.

n ri , Q i nil 1 1 ^ i b^

John Imlah:.

I', 'ji

f

I.'' Oh! gini

were where Ga - die* rins, Where Ga - die rins, where

^^

f F P F f h F h 'F r F ^

[jj.;>;j^j i iii r rij:jj^int

Ga - die rins; Oh, gin I were where Ga-die rins, By the foot o' Ben-nach-ie!

b- f r r r if f p p i f f p gg i fcf r \\>*%

H J i JiiJiJiiV iiw.i i A^i V 'i

"f r r r

and High-land Spey, But
ies wag the wing; They
and leaves o' green, I
wi' stooks o' com, 'Tis

I've roamed by Tweed, I've roamed by Tay, By bor - der Nith,
When blade and bios • som sprout in spring, And bid the bird -
When sim - mer deeds' the va - ried scene, Wi* licht o' gowd>
When autumn's yel - low sheaf is shorn, And barn-yards stored

m

I iTi'i I |i| I'l fii I I'l I

' I D.S.

iii i ii4i^^ m

IS

, the

dear - er far to me than they. The braes
blithe -ly bob, and soar, and sing. By the foot
fain wad be where aft I've been. At the foot
blithe to toom^ the dy • ack^ horn At the foot

o'
o'
o'

Ben
Ben
Ben
Ben

nach •

nach •

nach •

nach -

Oh!
Oh!
Oh!
Oh!

m

^^

^

I I I I ii I III

cz

5. When winter winds blaw sharp and shrill,
Owre icy bum^ and sheeted hill.
The ^ingle-neuk is gleesome still
At Sie foot of Bennachie.

6. Though few to welcome me remain.
Though a' I loved be dead and gane,>
I'll back, though I should live alane,
To the foot of Bennachie.

*If. 'clothes, 'gold. *empty. 'harvest-home. ^ small stream, 'fireside. *gone.

the different pieces together, and this b the most diffi-
cult task of all. Most violins are made of maple- wood
that grows in that part of the country, or over the
frontier in Bohemia. The women generally occupy
themselves as polishers. This requires long practice,
and a family that posseses a daughter who is a good
polisher is considered fortunate. Even a young man,
when he goes a wooing, inquires whether the young
girl is a good polisher, and if she is it will certainly

increase his affection for her at least twofold. The
polishing takes a great deal of time, some of the best
violins being twenty and even thirty times polished.
Every family has its own peculiar style of polishing, and
they never vary from that. There is one that makes
nothing but a deep wine color, another dtron, another
orange, and so on, with varying degrees of excellence.
* The Gadie is a small river in Aberdeenshire, ia
Scotland, which flows past the mountain of Bennachie*

FRANKLIN SQUARE SONG COLLECTION.

145

ZEPHYR OF NIGHTFALL.

Moderato*

Anonymous.

^MiJ,JJj;j i g:j. i ;.^;;j^^t^

1. Lo, while-the zeph-yr of night -fall Balm- i - ly wan-ders a • round,

2. Heard ye the vol • ces of na - tare From the green meadows that come ?

3. Neighbors, a wel-come now give us, Day and its la - bors are done;

Bells from yon vil - lage are
Vol • ces that sing at the
Gai - ly the joy -bells in

chim - ing — Sweet - ly, how sweet-ly they

twi • light, Pleas - ant • ly call - ing us

vite us, Peal • ing at set of the

sound!
home,
sun.

Dear is your mu - sic,
Dear is their mu - sic.
Dear is your mu - dc,

each clear ring
from moun - tain
each clear ring *

ing bell, Dear is your mu - sic, each
and dell. Dear is their mu - sic, from
ing bell, Dear is your mu - sic, each

K HRf^T-tf^- i HRF^

fl^U-AlJ

h pi P k

^m

iS^

±JU^

frf

clear ringing bell; Pas -sion to qui- et pro
mountain and dell ; Hearts that would restlessly
clear ringing bell ; Love by your mag • ic is

found Sinks at your soothing spell.

roam, Yield to their mag -ic spell.

won, Bound by your soothing spell.

GOOD NIGHT.

^

Mi*«iiJJj l j J I JjJl,M:U l JJ l 8Jd l .-lJ l J j J ^ ^

Now to all a kind good night, Sweetly sleep till morning light, Till morning light, To all good

ing light,

wi i r^^Fi F p i r^pF i Ff fy^'f p i l' f i r'^ i r I' l ^

night ; Sweetly sleep till morning light,Good night, good night, Good night, good nigl

E=

:*»::■

^g

good night, good night, good night.

144

FRANKLIN SQUARE SONG COLLECTION.

THE MURMURING SEA.

AUtgreito. l » [^

Stbprbn Glovbr.

lhirjJ'.ME:J^'. l JJ<.IJ-^r-rA'^-'-l-t^'-'t

1. Mnrmur-ing seat beaa • d-ful sea! How I love to list to thy mel - o - dy. When the

2. Murmur -ing sea! beaa-ti-fnl sea! I no more shall sail o'er thy wa-tersfree; But I

'' Hbbh' i b'fabfff'd'^^'^ i ^^^

winds are still in thy rock • y caves. And the sweet stars glance on thy pur-ple waves, And the
watch the ships as they lade from sigh^ And my fan - cy follows their trackless flight; And my

l^"Fff51iF5FWf^

*zJ

i^ ^f^'.is^i iijj-^J3^gvjijj J ^

sweet stars elance on thy pur -pie waves :'Tis then I dream of the db-tant land, Where I
fan • cy wl • lows their trackless flight: Bounding a- way to their destined mart. To Uie

^F i v mv^A

j=^

e ; F r ^ pi

m

U 9

I J5^'J/,JUJ i JljiJij^^J-NPi J J #

left a lov-ing and joy -ous band; Oh! dearer than ev-er they seem to me. As I
land so dear to my lone-ly heart; Oh! dearer than ev-er it seems to me, As I

m

muse on the shore of the murmuring sea ! As I muse on the shore of the mur- murine: sea!

i\i \ hv^n \ n^.^'^m

J.

M

w

Mur-mur-ing sea! beau -ti- fill sea! Oh! dear-er than ev-er they seem to be, As I

FRANKUN SQUARE SONG COLLECTION.

»4S

i^ jj;J JiJlJ.Jj j ,l|J Jj J: J' Jl

muse on the shore of the mur - mur-ing sea, the mur • mar - ing, mur - mur-ing

w.

g:filg:ggf 1;inn-fg|

■ ■ WL

J^ — P — tr

Beau - ti - ful sea! Beau- ti - fill sea

murmunng

i J:£:.J'Jij:gp^l.^j'[^g,^'^ i Jy;/jji

Beaa-ti-ful seal

m

Beau - ti - ful sea ! Oh ! mur-mur-ing, murmor-ing

^'^^^' TKr :u

g-^-^

^ U k k

Beau-ti-ful sea! Beau-ti-fiil sea! Beau-ti-fiil i^ |^ ^ ^ |^

sea! Beau -ti-Ad sea! Beau -ti-uil sea! Beau-ti-fiil, beauti - ful sea!

ki' p:>. Mg'ggr' i ^:ggp: I

0fmm 0'

-x^

^ P k

THE PEACEFUL FOLD.

horatius bomar.
"Lbbanoh." Johk Zundsx..

I. I was a wandering sheep, i did not love the fold; i did not love my

1. "f was a wandering sheep, I did not love the fold; i did not love my

2. The Shepherd sought His sheep, The Fa - ther sought His child; He followed me o'er

3. No more a wandering sheep, I love to be con - trolled, I love my ten • der

Shepherd's voice, I would not be con- trolled; I was a way -ward child,

vale and hill, O'er des • erts waste and wild: He found me nigh to death, Fam-

Shepherd's voice, I love the peace • fill fold : No more a way - ward child, I

did not love my home, I did not love my Father's voice, I loved a -far to roam,
ished, and faint, and lone ; He bound me wiUi the bands of love. He saved the wandering one.
seek no more to roam; I love my heavenly Father's voice, I love, I love His home.

r-r-a. -

t' -Ftrtm rrrn r r ^^

SiS

V«-io

146

FRANKLIN SQUARE SONG COLLECTION

Such was Geoiige Herbert's love of music that he
went usually twice ev^JT week to the Cathedral
Church in Salisbury. When rector of Bennerton, in
one of his walks to Salisbury, he saw a poor man with
a poorer horse that was fallen under his load; they
were both in distress, and needed present help, which
Mr. Herbert perceiving, he put off his canonical coat
and helped him to unload, and after to load his horse.
The poor man blessed him for it, and he blessed the
poor man, and was so like the good Samaritan that he

gave him moner to refresh both himself and his hone,
and tdd him mat if he loved himself, he should be
merciful to his beast. Thus he left him; and at his
Coming to his musical friends at Salisbury they began
to wonder that Mr. Georjge Herbert, who used to be
so trim and clean, came into that company so soiled
and discomposed; but he told them the occasion.
And when one of the company told him ''he had
disparaged himself by so duty an employment," his
answer was: That the thought of what he had done

OH I SISTER DEAR

D. F. E. AuBBR.
Fh>m"M4

if^'i'jCT l f ^ l , l ,.^H^fH:J l f4'J'l&

1. My sis • ter dear, o'er this pale cheek The tear of sor • row oft was

2. And now, a • las! I weep a • lone. By thee, my sis • ter dear, for-
\,Pour-quoipUu'rerf pour-guoi pleu-rerf La can^deur in vos irais tit*

Wil%.l\i\z\V '^^

^^

cr:

JjJUjj-»'l^-^;fLVJH-^JIj:jN.J'l

steal -ing. And when thy looks be • trayed the feel-ing Thy lips, thy tongue, re -
sak • en; Dark thoughts a - rise, and fears a- wak-en, Thy fate, a - li^! to
pi • ref Lis gra • as vi^n - nent vous pa - rer^ Et Va - wwwr

fused

me un

sem-ble vous

speak; But thou hast
known; And down my

com - fort, sis - ter dear, When I
pal - lid cheek the tear Will ev - er

' POUT'

sotirrire/ Pour-quai pieu - rerf pour - quai pUu - rerf pour-quoi,}

shed for
flow, my
quai pleu

thee a tear, When I shed for thee

sis - ter dear, Will ev - er flow, my sis

rer? pour - quoi^ pour ^quoi, pour- quoi, pour-quoi

a tear,
ter dear.
pUu • rert

U r 7 I f ^^H^pf tf If /if r I

would prove music to him at midnight; and that the
omission of it would have upbraided and made dis-
cord in his conscience whensoever he should pass by
that place; «*for if I be bound to pray for all that be
in distress, I am sure that I am bound, so far as it is in
my power, to practice what I pray for. And tho* I do
not wish for a like occasion every day, yet let me tell
you I would not willingly pass one day of my life with-
out comforting a sad soul, or showing mercy, and I
praise God for this occasion." — Izaak Walton's Lives.

When music is used to pave the way to vice, certain
instruments are rigidly excluded, and the nobler tones
are exchanged for "soft Lydian airs." This exclu-
sion and perversion every true musician detects as a
lack in the music itself, and the spirit of music — ^like
a fettered Samson— jpleads with him for a better use
and fuller exercise of^its nature. Such use of music is
like the look of scorn in the face of beauty; no other
face could express the scorn so well, but the beauty is.
still a protest against its use for such an end. — Munger^

FRANKLIN SQUARE SONG COLLECTION

M7

I REMEMBER ODCe asking a distinguished Polbh
lady, herself a notable musician and pupil of the great
Chopin, whether she ever played Hungarian music.
« No," she answered, " I cannot play it; there is some-
thing in that music which I have not got — something
which is wanting in me." What was wanting I came
to understand later, when I became fiuniUar with
Hungarian music as rendered by the Tzigane players.
It was the training of a gipssr's whole lite which was
wanting here — a training which alone teaches the

secret of deciphering those wild strains which seem
borrowed from the voice of the tempest or stolen
from whispering reeds. In order to have played the
Hungarian music aright shewouM have required td
have slept on mountain tops during a seon of veais»
to have been awakened by fkUen dews, to have shiued
the food of eagles and squirrels, and have been on
equally familiar terms with stags and creeping things
—conditions which unfortunately lie altogeSier out
of the reach of delicate Polish ladies. — Blackwood. -

WHEN I COME.

P AlUgritto.

SvAAut Folk-song.

1. Most I then, must I then leave my hap-py lit -de town, hap-py lit -tie town, Xid

1. Most I then, must I then leave my hap-jpy lit -de town, hap-py lit -tie town, And

2. Ah, thy tears ! ah, thy tears! they are iiedl - mg like die rain, fell • mg like the ndn. Sweet

3. In a year, in a year, when the lit -de ber-ries ripe, lit - de ber-ries ripe, I'll
I. Muss I denn, muss I denn zum Stftd • te • le 'naus, Stftd • te • le 'naus, Und

iV'i' BF i FE EFme F Prr n r rgrrn

^ ad lA. ~ a tempo*.

thou^my love, bide here ? When I come,when I come, when I comeback again, comeback agaiii,Then with
love, so dear to me ; In die world, in die world, there are many fair beside, many fiur beside. But
come a- gain to thee. And if then, oh, if dien thou dost truly love me still, truly love me still. My
du mein Schatz Meibst hier ? Wenn I koinm,wenn I komm, wenn I wiedrum komm, wiedrum komm, Kehr ' I

r'Jjjj i ,j,j7ij , ;jj-ju;j'J// i fPF&ff%ji

^tnl

thee I'll stay, my dear. If now with thee I cannot re - main. My love for thee's the same,
ril be true to thee! Think not an- oth-er when I see. This heart will Pithless be. In the
dar-ling wife thou'lt be. In that brief year I'll have served my dme. And thou canst call me thine I And if
ein, mein Schatz, bei dir. Kann I gleich nit all-weil bei dir sein, Han I doch mein' Freud' an dir ; Wenn I

i '^ " iM'FF |-i rT? i FIF[[ i F[ [rgff i ' ^ i ^n ff

f'u.^^^miuI^jiSBu j . i ^ii

ad lid. a tempo,

come, when I ^me, when I come back again, come back again. Then with thee I'll stay, my dear I
world, in the world, there are many fair beside, many fair b^ide, But I'll be true to thee,
then, oh, if then thou dost truly love me still, truly love me sdU, My darling wife thou'lt be.
komm, wenn I komm, wenn I wiedrum komm, wiedrum komm, Kehr* I ein, mein Schatz, bei dir.

Wie du weinst, wie du weinst, dass I |: wandere muss : |

Wie wenn d' Lieb* jetzt wfir* vorbei;
Sind au drauss, sind au drauss der |: M&dele viel :[t

Ueber Schatz, I blcib' dir treu.

Denk' du net, wenn I 'ne And're seh',

No sei met LieV vorbei:
Sind au drauss, sind au drauss der |: M&dele viel, :|

lieber Schatz, I bleib* dir treu.

Uebexs Jahr, iibers Jahr wenn me |:Trftubele schneidt,:||

Stell' I hier mi wiedrum ein;
Bin I dann, bin I dann deinj: Sch&tzele noch,:|'

So soil die Hochzeit sein.

Uebers Jahr da ist mein' Zeit vorbei,

Do g'hOr I mein und dein;
Bin I dann, bin I dann dein |: Sch&tzele noch, :||

So soil die Hochzeit sein.

148

FRANKLIN SQUARE SONG COLLECTION

THE SWISS GIRL.

Solo.

Gborgk LncLST.

3j i jy.;!r'.n

St

^■

f

1. O hear me, pret-ty Swiss,

2. That sim - pie wreath of flowers,

Ftrst QuarUtU or Chorus,

Come, roam
O care

the world with me; Where grandeur
less4y throw by; And thou shalt

yk A •'•» Y^fvc*/* •«»•» %^¥ ^^09vr a^m m

1, O hear me, pret-ty Swiss, Come roam, come roam the world with me, Where

2. That sim - pie wreath of flowers, O care- less -ly throw by, throw by, And

hi*\*^^[ Hhh^f^ \ \\\ r

- r :. -^^^ IH^^^ Stcond Quariett* or Chorus.

shines, and wealth can make, A par - a-dise lor thee. No! no! I love the

shines, and wealth can make, A par - a-dise ior thee. No! no! I love the

wear a diamond crown, More dazz - ling to the eye. No! no! that crown is

grandeur shines and wealth can make A par-a-dise for thee.
Uiou shalt wear a diamond crown, More dazzling to the eye,

No! no! she
No! no! that

!_ (^ !_ !_

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?sc

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hHI

sg^~FJ^SJ4^^'J^^Jj,;'JJ jcg^i

ES

mountain-rill, These bar-ren clifis, and for-est green. More dear to me the

not so bright. As yon-der glo • rious sun I see. That bathes in gold each

loves the mountain • rilk. These barren dilfe, and for-ests green; More dear to
crown is not so bright As yon-der glo- rious sun I see. That bathes in

■^ ^ ^ rUard, ^ Mr st QuarUUe or Chorus,

flower-clad hills, The val- ley where my cot is seen. But come with

towering height. And wakes each mom new joy in me. But here thy

i 'i iii I 'J i^JU,: i

IF^

•^

her the flower-dad
joy each tow' -ring

^

:i

riUird,*

hills, Her cot is seen,

height. New joys to me.

f rrr I F -ti' ^p

i

FRANKLIN SQUARE SONG COLLECTION

149

J J.B?-,>IJ _J.f;M-;.Jj

^S

me,
channs

and thou shalt share
un-seen will ilEule,

A nd - ace bright and iair.
O fly with me, sweet maid.

J' 'UU " i 'ii ii-iUJJi=J'UP

Yes, come with me,
Yes, here thy charms

and thou shalt share A
un - seen shall fade, O

s;-

ace bright and fair,
with me, sweet maid.

SF

iiu l ai i I II uu'i "

K

Ckortu, Attegro.

I 4J g l i

nol

^

s ^

i^

*i=«

K=K

nol no! the mer-ry Swiss girl, con -tent - ed here to stay. Cares

no! nol the mer-ry Swiss girl, con -tent - ed here to stay, Thinks

not forwealthandhonorSyWhileshesings her mountain lay. La la la la la la la,
not of youth and beauty, while she sings her mountain lay. La la la la la la la.

m

iff bNf'fffipfip F p ir r g

v^

la la la la la la, la la la la la la, la la la la.

FFP i f FF ' F FF i ^^^i^^p i F ^

1 (ROUND.)

f!lJj|J.JJV.J; l J.MlJJ|,'-S-M^ ^

Here's a health to all them that we love! Here's a health to all them that love usl
8 4

%' gg|J- JJCJCI^Bgr I IJJUjjj:^jtJ:

Here's a health to all them that love those that love them. That love those that love them that love us.
1 (ROUND.)

a

3

s

8

T p^ Sa

f'zr r r

^jN^irr^ir

^

-tfclfcfcli^

Day is gone. Night has come. When the day of life has flown, Heav'n be our home.

«So

FRA^TKLm SQUARE SONG COLLECTION.

But the sea implies the shore; and it is something
also to have heard the murmuring of the broad ocean.
I think that these moments, these intimations, which
seem to come from a great distance, proYC many
things,r-|3rove, above all, that man's spirit is not a
sand-locked pool. The slender filaments of sensation
are threads that bind us to a mighty whole, and it is
a h^her, moie complete existence,-^the life in the
whole,—- which, through them, stirs in us, perhaps to
sleep the next moment. Beethoven said, that '*manc
is the link between rational and sensitive life; it ad-

dreswt both^ and owes to this its power; for music, of
all the am, alone rnukes to that within us to which
the othcis can only appcaL Like divine grace it gets
fairly withiD the mind; and while things that address
themseivca to the eye or intellect stand at the door
and knocks it kat already carried in its message, and
brought OS inio an inner world, richer and sweeter
than the omtwaid one, y^ linked with it at every turn.
What is there* in life, as it now is, that answers to the
feelings which masic calk forth, — ^**it5 deeper pangs.
Its tears more sweet," — ^its Knnning at the citadel of

WHEN THIS CRUEL WAR IS OVER

Hbkrt TvcxBit.
Chas. C. Sawysk, by per.

rfj'/jijrjnTTtJ-M^ i Hs;';

Mcderaio e ctmidbiie.

Dear - est love, do you re • mem - ber,
'When.dieAunmer breeze is sigh - ing
If, a - mid the din of bat - tie,
But our country called you, dar - ling.

££££fj

When we last did
Mournful • ly a • long;
No - bly you should fall»
An - gels cheer your way ;

How you told me that yon
Or when autumn leaves are
Far a - way from those who
While our nation's sons are

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1*-

loved me, Kneeling at my feet? Oh! how proud you stood befcve me In

fall • ing, Sad- ly breathes the song. Oft in oreams I see ihee ly ing On

love you. None to hear you call, Who would whisper words of comfort, Who would soothe your

fight - ing, We can on - ly pray. No - bly strike for God and liber • ty. Let all na-tions

your suit of
the bat - tie

blue. When you vowed to me and coun • try
plain, Lonely, wounded, ev -en dy - ing,
pain? Ah! the ma -ny cm - el fan - des
see How we love the starry ban • ner,

£v-er to be true.
Calling, but in vain.
Ev - er in my brain.
Emblem of the firee.

Weeping, sad and lone • ly.
Weeping, sad and lone - ly,
Weeping, sad and lone - ly.
Weeping, sad and lone-lv,

I < - - - ♦^

Hopes asd fears how vBin I Yet praying, ^^eadiiscniel 'war ISO - ver, Pngringdiatiwneet again!

bpFfirrrnpigis^girFiBtf^ffCa

feeling through a hundred gates at once, or winning
it through some single secret postern ? You read, you
think, you ponder, and, lo! a grinding organ at the
comer of the street, playing some conmion tune, sends
a fresh breath across your soul, that turns over a new
leaf within it, writ all over with deeper, sweeter, tiner
lore than was ever magidan's book. — T\oo Friends,
Charles Carroll Sawyer, now ( 1888) a resident of
Brooklyn, New York, was, without doubt, one of the
most popular and most successful song writers of the

war. He gives this as the origin of his famous song:
** During the year 1861-^2, many songs were published, '
but they were all filled with the love of the soldier
for those whom he had left at hcnne, and, thinking it
would cheer and comfort our brave boys, I composied
and published tibe «oi^, 'When this Cruel War is
Over,* whidi seemed to reach the hearts of both
armies, so that in a few months I found it almost im-
possible to supply the demand. The song has reached
the unprecedented sak of nearly one mmion copies."

FRANKLIN SQUARE SONG COLLECTION

151

The '< Blue Juniata" was composed by Mrs. Marion
Dix Sullivan, of Boston, who was bom in 1803, in
Boscawan, New Hampshire, and who died in i860.
She was the daughter of Col. Timothy Dix« and the
sister of the late Gen. John A. Dix, of New Yarlc.
Some years before the song was published. Mis. Sulli-
van traveled with her children and a paity of friends
^m Massachusetts, by way of the Juniata valley in
Pennsylvania, to Oluo, whidi was then the Far West.
The joumev was made by packet boat and stace coach.
It was on this trip, amid the wild and beantiml moun-

tain scenery of Pennsylvania, that she found the inspi-
ration for her best known song. After a few years in
Ohio, her husband's health having failed, she supported
hendf and family by teaching music and language,
keeping her children at the best schools in the neigh-
borhood. She wrote a number of songs which she
sang, with sweet voice and much feeling, to her own
accompaniment on the guitar, an instrument she great-
ly enjoyed. She had a kind, beautiful face, with most
^genial manner, and her home was always the wel-
come resort of the friends whom she found every\i'here.

THE FLOWERS THAT BLOOM IN THE SPRING. A,„mn. sv.uvak

W. S. GiLSBRT. " Mikado.
44.

pm '.U i rU\ ^ t\i ^U hU^ \ i^ -

1. The flow • ers that bloom in the spring, Tra la. Breathe promise of mer - ry sun - shine. As

2. The flow • ers that bloom in the spring, Tm la, Have noth - ing to do with the case, I've

itml \ fiUlU-^**^ \ l'nf'^

p ^^im^^ ll *iiMii\i i^ ii\M'}^

we merrily dance and sing, Tta la,We welcome the hope that they bring, Tra la. Of a summer of roses so
got to take under my wing, Tra la, A most unattractive old thing, Tra la, With a car-i • cature of a

fine, Of a summer of ro-ses so fine. And thafs what we mean when we say that a thmg Is
iace. With a car-i-ca-ture of a face. And that's what I mean when I say or I sing,<*Oh,

welcome as flowen that bloom in the spring, Trala, la, la, la, Tra la, la, la, la. As we merrily dance and
bother the flowers that bloom in the spring 1 " Tra la, la, la, la,Tra la, li^ la, la, I've gut to take under my

*=

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F

la, la, la, la, Tn

sing, Tra la, la, la, la, Tra la, la, la, la. The flow - ers that bloom in the spring,
wing, Tra la, la, la, la, Tra la, la, la, la. The flow -ers that bloom in the spring.

iM' i rrrff i fTrfr ^ ^

IS*

FRANKLIN SQUARE SONG COLLECTION.

i

WITHIN THIS SACRED DWELLING.

^

W. MOSAIKT.

From " Magic Fur™."

JF^

Larghttto,

^

1. '>A^th - in this sa • cred dwell-ing, Re-venge no ref-uge

2. These ho - ly walls a - round us Con - fine but will - ing

jb&

'Ti yJ l J- J^.qi;gjj|

finds; Where joy each bo > som swell -ing And love to du - ty

hearts; Re - leased from cares that bound us, We fear no trait' - rous

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binds,
arts;

Thus led by firiend • ship's guid - ing
Not mor • tal har - b'ring Uioughts un •

hand, In peace we reach the bet • ter land; Thus led by friendship's guiding
kind Witnin these halls can ref - uge find; Nor mortal liarb'ri'ng thoughts un-
^a %va

^^ir^Yi^i

FRANKLIN SQUARE SONG COLLECT/ON.

IS3

f' -g^ jjj^j^j i \ s}^>^ \ ,^.j\^^

hand, In peace we reach the bet-ter land, Thus led by friendship's goidinghand, In peace we
kind Within these halls can ref - uge find. Nor mortal harboring dioughts unkind Within these

reach the better land, the bet - ter, the bet • ter land,
halls can refuge find, can ref • age, can ref • age find.

^^

THE BATTLE PRAYER.

Adagi0f can soUnnita, .^

Fr. H. Himmbl.
Thsodorb Kornbr.

^ -»•• ^o acctUraudo. '0- —

1. Father, on Thee I call!

2. Father, oh, hear my cry!

Darkly the clouds of the battle surround me ; Fiercely the sword of the
Lead me to death or to vie - to - ry lead me, Where'er the cause of my

3. Father, be Thou my guide ! ITio* dire the summons that gives to death greeting. Thou givest aid when
I. Vater, ich ru-fe dich ! Briillend umw6lkt mich der Dampf der Geschtltze, SprOhend umzucken mich

wi,.^FF'^FE i fi-''rfe'i iOTrrrr|irrfffft

^^

P^ Unto. — =

fj i j j;J'i jii'j'j j i h hii\^ ^

„a Umpo.

foe flashes round me, Heed Thou the battle, be ev - er nigh ! Fa-ther, oh, hear my cry !
country may need me, Safe in Thy keeping, what - e'er be • tide. Fa-ther, be Thou my guide ! '
Hfe is fast fleeting. Oh ! for that moment my soiU pre-pare! Father, oh, grant my prayer!
ras-seln-deBli-tze; Lenker_der8ch]achten,ich ru • fe dich! Va-ter, du fOh-re mich!

| ,,fff^y i pp:5| - ^t-^i ^^

i

Vater, du iUhre mich!
Ftlhr mich zum Siege, f&hr mich 2am Tode»
Herr, ich erkenne deine Gebote,
Herr, wie du willst, so ftihre mich;
Gott, dir ergeb ich mich*

Gott, dir ergeb ich mich!
Wenn mich die Donner des Todes begr&ssen,
Wenn meine Adem geCffiiet fliessen;
Dir, o mein Gott, dir ergeb ich mich!

Vater, ich rufe dich.

354

FRANKLIN SQUARE SONG COLLECTION,

An extraordinaiy featuie of the musical worid of
4he present day is the enomous^rchesteas qriiich can
be iMTodnced on special occasions. A chorus of sev-
•eral thousand voices supported by imndnds of iastm-
iments may now be heard, rendering the immortal
^compositions of the greatest masters of the divine
Art, in the People's Palace at Sydenham and else-
where. These orchestras are chie% selected from
the ranks of the peqple,of whom the astisan as the
«hief element The Teduotion in the tiost of inatru-
iments and the adoption of what vox be oalkd the
joint-stock principle are tending stiU further to en-
large the boundaries of the practical musical world.
At any time and .for any purpose it is «iow easy to
«ecure a band and chorus sufficient in nnmbers and

executive power to render in an efficient and oower-
ful manner, the glorious productions of Beeuioven,
Mozart, Handel, and other great masters. On all
these occasions, the violin bears a most important
part. It is the leading instrument in these great
performances, as it is, after the voice, the most
powerful medium of expression' in solo. It is also
the people's instrument. The labors of many eminent
violin-makers, following in the steps of the great
masterR, have so inunensely improved the art, that a
good instrument may now be possessed \ff any one.
And it may be said that with its improvement has
arisen also the extensive and wide-spread practice of
music generally. An ear accustomed to the fine tone
of a good violin will not now tolerate a bad piano forte.

OUR FLAG O'ER US WAVING.

^^

G. Verdi.
Air^Atanl Chorus " H Traoator*:

jf f .Ml' p Jj iM

as

^

=5=*

1. See the proud banner of lib- er -ty streaming, Its bright starry folds o'er us ra-diant - ly

2. Bright starry ban- ner ! thy feme we will cher-ish, And shield thee and save thee, or no - bly we'll

^m

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^

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deamine ; Hear the loud trumpet its war note xe - peatinc. The roll of the drums where brave armies are

gleaming; Hear the loud trumpet its war note xe - seating. The roll of the drums where brave armies are
per -ish: Proudly our ea • gles are floating a - bove thee, Columbia, for ev - er we bless thee and

li»lM ff

ifgfl^Sg i '^ ^

\ iv Hi ' ^^

i

gn*^

^»=^

meet-ing, l)ra\««nnies meeting, are /meeting! On, on to glo-iy's field, our proud flag o'er us
love thee ! bless thee and iove uee, andlove tlieel On, on to vie - to - zy 1 our country now and

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T -ling'! Klarchixxg lo .canquest, e¥ - 'ry daa-'ger oo - bly brav^ing. Mardi, march, march on to
ev - er. Palsied vthe «rai -tor hand our Uoion that would sever: Hail! hail! hail! land of

FRANKLIN SQUARE SONG COLLECT/ON.

OH, WHO SO GAY AND FREE?

155

1. We'll laugh at care and sor-row, No trouble will we bor^row, But wait the coming morrow, ^

2. Our vol - ces gai • ly ring-ixig, As cheexi • ly we're sing-ing, Sweet memories now clinging A •

3. The friends we're fondly meeting, With joy we're gladly greeting, And happy songs re-peating, On

mer • ri • ly we'll sing : We'U sing of joys to come, Of hopes that brightly bloom ; What tho' the hours are
bout each bush and tree! Why do we aoum the ps^? The yearsthey cannot last! Our hearts with hope are
each re - turn - ing day : Then let us gladly sing. While Time is on the wing ; And nev-er sit re •

toFF f:rr i r[pe i p:f g i |:[cg | pxprcpg

iJ'Mriirn^ijjiirriri|ri|irn^jj

fly - u^g> And flow'rs around us dyii^? Oh, what's the use of sighing, Tho' Time is on the wing ?
swelling Svireet music's notes but teDing The happi - ness in-dwelling. Oh, who so gay and free ?
pin - ing, While youth is brightly shining, And wreaths of friendship twining, That never shall decay !

,0 ,0'^0 ,0

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f

THE CRACOVIAM MAID.

P'^j l jih^i^^i l i ?i J I ^J J jlj J H\^

1 . Farewell ! fiurewell, my peaceful vale,Where oit in infancy I've roved. And listened to the joyous tale Of

2, Farewell ! farewell, dcax village church. Where oft in prayer I've joined the throng. And chsuted witii a

[dwcffbl voice My

those I dearly loved.ThelatticepordivTith ivy dad,Therippline stream, th' flow'ry glade,Inmem'ry nowa •
gratitude in song. The setting sun, the vesper bell. Have mded like a passsii

passsing shade. And seems to sound a

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,The

lone must glad The poor Cracovioa maid. The poor Cmcovian maid, The poor Om-cov-ian maid,
porting knell To the poor Cracovian maid. The poor Cracovian maid, The poor Cra-cov - ian maid.

: l!„ffff i ;p;C i i*.f i &:^ffiF|: i p:^Ff^

156 FRANKLIN SQUARE SONG COLLECTION.

DON'T LEAVE YOUR MOTHER, TOM.

Modetvto.

uui^fljijj i j;. j i jf j; | j. ^i ^ -^f j ^

E. J. Sthoms.

ChAKLBS OSBORIfB.

1. How well can I re -member, though ma-ny years a - go,

2. We watched the fading vessel, then came back home again,

3. The time rolled slowly onward, great changes had occurred,

4. She lingered thro' the summer, but with the frost and snow,

I journeyed down to Plymouth with
And scarcely spoke in whisper whilst
About the good ship "Victor" for
The bit - ter winds of win - ter too

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tf^^jj/jn ^jijj j j i j j ji j.j;j i j ^

moth • er, you must know ; The ships were in the har • bor, with flags and banners dressed. And

lid • ing in the train* The journey seemed unend - ing, and lead -en was the sky, Un-

months we had not heard ; My moth-er grew so anx - ious, her cheek lookM sad and pale, And

sure - ly laid her low. She died in my em-brac-es, with spir - it cahn and brave. And

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f 1^ f < f l f J^^ -fdlpJl^Y^Vft^

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=^=1=":

weep-ing wives and children were wait-ing with the rest
til we reached the sta - tion to which our home was nigh ;
I was growing fear -ful that she sudden -ly might uiil.
now the weeping wil - low droops sad-ly o'er her grave.

My father was a sail - or • on
The cottage seemed so des-o late, for
One day we had a tel - e-gram to

I oft • en go to see it, to

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tfM . r . r^; i ^.Ji4'Jj4ir , i, ^rrij rir[t

board a <' man-of-war," Who once again was ^ • ing to leave us both on shore ; He kissed us both at
va - cant was the chair In which my father Imgered when-ev - er he was there. I came and stood by
say the ship was lost,She founder'd many miles away,where she'd been tempest-toss'd ; My poor old mother
keep the verdure green, And plant some spotless lilies up • on the peaceful scene. And feel the sat • is -

P^f^f i !!!!ime i ^f t g i r: F I f f f f I

fcg^

JJ^4'JJ^; l J.J^J^^1^l1n"rf^rl^J

15=?*

3i=

f

part -ing, as we stood on the quay,* And, as he bade us both good-bye, he said these words to me:
moth - er, so torn by hopes and fears. In silence she embraced me, then whispered thro' her tears /
faint -ed, but when ue pal -lor fled, I kissed her as I told her the words my &-ther said :
iac - tion of knowing, tho' she's dead, I tried to do my du - ty, in the words my &-ther said:

rrrcrrnrTifri i rLfi ^

c^

FRANKLIN SQUARE SONG COLLECTION

157

jf.^H'^UJ'j l 'jJJLllFJi' l JJJ I / i^

Stick to your mother, Tom, when I am gone, Don't let her worry, lad, don't let her mourn, Re-

f iU^iim\\\i^in \ lii^

r

member that we nursed you when I was far away, So don't leave your mother when her hair turns grey.

^

Ffr i ffrt% f ^ipe^i^gggipFif' iii

UNCLE NED.

Stxphbn C. Fostsr.

ijii.jij-.j'j-fji j i w-r,iYj^u j-j'j

=5=lf

1. There was an old darkey and his name was Uncle Ned, And he died long a • go, long a -

2. His fin • gers were long as the cane in the brake, And he had no eyes for to

3. One cold, frost - y mom • ing, old Ned died, Massa's tears they fell like the

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go! He had no wool on the top of his head. In the place where the wool ought to
see! And he had no teeth for to eat a hoe-cake, So he had to let the hoe • cake
rain; For he knew when Ned was laid in the ground. He'd never see his like a •

r "g^ i f r f m r^ r[ ii u 1 n:

m

2^

ETOW. Then lay down the shovel and the hoe. Hang up the fid - die and the

grow. Then lay down the shovel and the hoe,
be. Then lay down the shovel and the hoe,

gain. Then lay down the shovel and the hoe.

l^^^^^fe

Hang up the fid -die and the
Hang up the fid -die and the
Hang up the fid -die and the

fli^

i

rh '*' » i J* v

fi'.*i:^i^ j J i j j3:J]j;,^'j/;

m

bow I For there's no more work for poor old Ned, He's gone where the good darkies go.

r'ffrr^Fr-ir'M TtriJL'u-'iii

ez^

158

FRANKLIN SQUARE SONG COLLECTION

The Ridiculous. — He was seveDty-five fears old.
But his hand did not tremble from the age. He had
laughed till the tears were rolling down his cheeks, and
still he laughed on. " Oh, Tim," he said, «« her ye got
asenseo'theridikerlus? Ef ye hev, hold on to*t. It's
the best firiend a man's eot in this life. It'll keny ye
when money wont, an' whoi friends aa' favors air dean
out o' sighL You'd better stay round, Jim. Ha! ha! "
and the old man lay back in his chair again and wiped
his gres. ** An', Jim ! Tim !" he shouted, the words half
lost between his chuckles of laughter, " don't yer for-
git what I tell ye now, that a sense of the ridikerlus is

the best frien'd a man kin hev in this world. It'll see
yer out every time. Stick to it, boy ; stick to yer sense
o' the ridikerlisJ If s about the ovXj thing reely to be
depended on in Ais airth ; the only Inrin' thing I know
thet's got its food aH, as yer may say, cut an' dried an''
spread ready fur a good meal 't all hours o' day every-
wherz. . . . An^ 3rou know, Jim, I'm dum queer, an*'
allers her ben. Ifbbedy knowed it betteren Mis'*
Worrall. She's said to me ahundred times ef die said!
•t onst, * John, ye're que erer ' n queer.' An' I s'pose-
livin' alone so sence she's dead's made me queerer. I
know I'm queer. I fed queer, man3r's the time so queen

AS I'D NOTHING ELSE TO DO.

J. L. Hatton.
As tung by Pakspa Rosa.

m^iUiH\Uii\iiii\i m

I. 'Twas a pleas -ant summer's mom- ing. Just the day I like tf en - joy, When I

2. Off I start - ed thro' the mead -ows, wherethedew-beadspearl'dthespray. And, re -

3. But, be • fore the day was o • ver, I'd some-how made up my mind That Fd'

3^

ff ggg i gfrnp ff

:ta=tc

\ ji_^i_-j_-^ r •— T* i_j 1 a/^_ i« _i ▼_ 1- /•_- 3 1

woke and looked out ' early. Puzzled how my timet' em -ploy; In such fine and splendid!
spon-sive to the song-birds, I kept sing -ing all the way; Quite surprised she was tO'
pop the question to her, If to me her heart in - dined; So I whispered** Sweet, my

weath-er, I don't care for work, do you ? So I went to see mv sweetheart. As Fdi
see me. Come so early there to woo. Till I said I just walked o - ver, 'Cause I'dl
dar - ling. Will you have me, yes or no ?" " Well," she said, " perhaps I may, dear. When I've

noth-ing else
noth-ing else
noth-ing else

to do; So I went to see my sweetheart, As I'd noth-ing else to
to do; Till I said I just walked o • ver, 'Cause I'd nothing else to
to do ;" "Well," she said, " perhaps I may, dear, When I've nothing else to

do.
do.
do,'

(ft';Cpgig l Ff fl! i

^

12=^

tc4?:

U ^

I don't know what to do ; and this hull world an' every-
body in't seems to me so queer. I'm Imstin' larfin' iil
to myself to think how queer it is." . . Wiping his
eyes, he cried, « I suppose what aim bred in the lx>iie,
can't come out in the flesh. Yer never did hev no sense
o' the ridikerlus. Never! It'd ha' saved ye lots o'
trouble ef ye hed. But yer mother afore ye, she never
hed much, not till toward the last; it seemed to kinder
struggle up in her arter she took to her bed— the onlike-
liest place fiir it to come up, ye'd think ; but as she laid
there day arter day she kep' a-thinkin' over things I'd

told her, an' I declare I found her a-larfin' at things I'd
said to her twenty vears afore, that she never see no-
pint to till then. She'd allers called 'em jest aueer.
Now I don't s'pose ye can see anything ridikerlus in
this 'ere lawsuit John's a-bringin', to get me put under
a guardeen ; but I tell ye it's die most ridikerlus things
ever's happened in this State o' C^neticut ; jest the very
most, tm' J^er see ef the jedc^ and jury an' all on 'em
ainl a-larfm' in their seats afore it's done with. I only
hope I'll make out to keep a tol'able stiddy countenance
myself."— 5ajr/ Nolm^ %n " Farm*r WorraWs Cast.'*

FRANKLIN SQUARE SONG CCLLECTtON.

IS»

I'M NOT MYSELF AT ALL.

^

Samusl Lovxr.

AU^gro Sckerwando,

1. Oh! I'm not myself at al]» MoMy dear, Molly dear, I'm not myself at all.

2. Oht I'm not myself at all, Mol-Iy dear, MoUy dear. My ap-pedte's so small;

3. Oh ! my shadow on the wall, Molly dear, Molly dear, Is n't like myself at all,

4. I'll be not myself at all, MoMy dear, MoUy dear, TzU yon my own I call.

Nothing

I
For I've
Since a

f>iiKii^^iMiiK \\i\ \\\ ijJjjj

car - ing, nothii^ knowing, 'Tis af - ter you I'm going. Faith ! your shadow 'tis I'm growing, Molly
once comd pick a soose, But my buttons is no use, Faith ! my tightest coat is loose, Mol-ly
got so ve-ry win, My • self says, *' 'Tis n't him. But that pur-ty girl so slim,"Mol*ly
change o'er me there came, Sure you might change your name,And 'twould just come to the same, Molly

r jjjpbg i '^JjJ j .iUjji.L^

dear, MoMy dear, And I'm not my-self at all. Th' other day I went con-fess-in' And I

dear, MoMy dear. And I'm not my-self at all. If thus it is I waste. You'd

dear, MoMy dear. And I'm not my-self at all. If thus I smal - ler grew, All

dear, MoMy dear. Oh ! Hwould just come to the same, For if you and I were one All con •

ij' J J, ;.'/.[,'

.^-VJ»-

'm mf

£

5P=r»

j'jijVjyjjjji:

■ww-w

r*

vvv \

asked the father's blessin', But says I, " Don't give me one entirely, For I fretted so last year, But the
better, dear, make haste. Before your lover's gone away entirely ; If you don't soon change your mind, Not a
fret - ting, dear, for you, 'Tis you should make up the de-fi • cien*cy, So just let Father Taaf Make
fusion woiHd be gone, And 'twould simplify the matter entirely, And 'twould save us so much bother ,\Vhen>

x6o

FRANKLIN SQUARE SONG COLLECTION.

HALLELUJAH CHORUS.

AlUgro massiasa.

G. F. Handbl.

MJfJ^r.^^;*9W^*^i4 J ^ ii*\i^ ^

jahlHal-Te^ lu-jahl Hal-le-lu-ji

Hal-le-ln-jah! Hal-le-lu-jah! HaUe - lu-jah! Halle-lu-j

I f 'i:, i rr. r r i ff, mr^fe

r=T

m

Hal-le-lu-jaht Halle-lu-jali! HaIle-ltt-jah!HaI-le-Ju -jahl For the Lord God Omnipotent

rHr.M\^f.M^ f^^

r r ri^jfTfa

reigneth ! Hal-le - lu-jah ! Halle • lujah ! Halle - lu-jah ! Halle • lu - jah ! For the Lord God Omnipotent

reign - ethi Hal-le • lu-jah I Hal-le-lu-jah! HaUe • lu • jah! Hal-le-Iu- jah!

The

kingdom of this world

come the kingdom of our Lord, and of his Christ, and of his

tfpLJeL- i f'J i jjjji^ i fimr^^ i rfF ^^

f

^

^^

f

i^:

Christ; and he shall reign for ever and ever. King of kings.

Halle-lu-jah! Halle -

for-ev-er and ev>er,

FRANKLIN SQUARE SONG COLLECTION,
and Lords of lords,.,

Z6i

5-^

In • jahl for-ey-«r and ev - er, Halle • la- jah ! Halle - lujah ! King of kings, and Lordsof

g

lords ! and he shall reign for ever and ever, and he shall reign for • ev > er and ev - • er. King of

^;^ i rfiV(--r>''-"[gg'r£J'''^i''^^ '

and he shall reign for-ev-er and ev-er.

i*'^l \: Ki' . i Mjj'g ^^JVI geV jj l jj jp

w

for-ev • er and ev • er, Hal-le - lu-jah ! Halle - luji
kings,.^ and Lord of lordsl

shall reign for-ever, for

I i tip r.^^ir.-ti^i ' :

i

gggg'» i ^g'F^ i ^^

USCJfc

kings, for-ev - er and ev • er,

Halle . lu-jah ! Halle • lu-jah I

and

jj j';^^ l j ''j^ | j-;j^ | j>jj | j-j'j^ | j> f l

e V - er and ev • er. King of kings, and Lords of lords ! King of kings, and Lord of lords I and he shall

^M f g g ^

^^

*

ff p i' ff ■ r.fff

he shall reign for • ev-er and ev • er. King of kings, and Lord of

^^

e=pc

^

^ d i' S cl i t'^

ff

f=F?f=r**

ccc^c-

reign for- ev-er and ev-er and ev - er, for-ev -er and ev-er, for -ev-er and

| H f p r f ri Fbfi' if'RHigF^^g ^

l ^,T,w^^.^^j4-.w jv-jj^jj.:^ i :f^ | ,a

ev-er^ Hal -le- lu-jah I Hal -le - lu-jah I Hal-Ie-Iu-jahl Hal-le ■ lu-jahl Hal-le • lu-jahl

:e ^^fi-^ ^^fi-ffi ^^ipe ^^fif: ^__^.

V,-xi

X63

FRANKLIN SQUARE SONG COLLECTION.

THE EDEN OF LOVE.

. fHow

^^

JJJIJJ'JIJ.JJ

f How sweet to re ■ fleet on
* \ Where glo - ri - fied spir - its

■^

the y

joys that a - wait me In yon bliss -ful
with wd - come shall greet me, And lead me to

fei»„»^ifff i f p f i ^^^ i f 1 1 m

m

y"j;^U^7Jip'ii i ^ ii u ni I II, ^ Di

re • gion, the ha - ven of rest, 'I f En - dr
mansions prepared for the blest; j \ 1*11 bathe in

cled with light, and with do - ry en -
the o - cean of pleas • ure mi •

shrouded, My hap - pi • ness per - feet, my mind's sky mi • clouded,
bounded. And range with de • light thro' the

E - den of Love.

I' !■ i- f I F I f F Mp: ^ p IF \ jI I ^ & ^ I f

^m.

!fcS|t:

While angelic legions, with harps tuned celestial.

Harmoniously join in the concert of praise,
The saints as they throng from the regions terrestrial.

In loud hallelujahs their voices will raise;
Then songs to the Lamb shall re-echo thro' Heaven,
My soul will respond, to Immanuel be piven
All glory, all honor, all might and dominion.
Who brought us thro' grace to the Eden of Love.

Then hail, blessed state I hail, ye singers of glory !

Ye harpers of bliss, soon I'll meet you above I
And join your full choir in rehearsing the story,

"Salvation from sorrow, thro' Jesus' dear love;'*
Though 'prisoned in earth, yet by anticipation.
Already my soul feels a sweet prelibation.
Of joys that await me, when fr«ed fsom probation;

My heart's now in Heaven, the Eden of Love.

WITH JOY WE HAIL THE SACRED DAY.

p.i'^U;i^ J ^

Hasrxbt Aubbr.
,Gbo. Kingslbt. "Hbbbr.'

i iiij

g=§

1. With joy we hail

2. Thy cho - sen tem -

3. Spir - it of grace!

the sa > cred day. Which God has called His
pie. Lord, how fidr! As here Thy ser - vants
O deign to dwell With - in Thy Church be

own;

throngs

low;;

-0 ^ T— , ^i-nnJ 1 . , . , . ! jr\ U I . rr

i U \ ^ ',l i 'Mii^l iWfifii

-TT

With joy the sum - mons wc o - bey.

To breathe the hum - ble, fer • vent prayer,

Make her in ho - li - ness ex - eel,

To wor-ship at His throne.

And pour the grate • fril song.

With pure de - vo - tion glow.

b f; frf pif rF Fif F ^' '^ ^

Let peace within her walls be found;

Let all her sons unite;
To spread with holy zeal around

Her clear and shining l^ht.

Great God, we hail the sacred day
Which Thou hast called Thine own;.

With joy the summons we obey
To worship at Thy throne.

FRANKLIN SQUARE SONG COLLECTION

163

HAIL, THOU ONCE DESPISED JESUS.

JoHM Bakcwbll. "AtnrrMK.'
Spakish MsLODvyV. Marbchiq.

|i|A>i:J l j:jj:j1ij^i^Jl'J:^JjF l l4-i:J''-l^:!^'g

I. Hail, thoa once despis - ed Je - sus ! Hail, thon Gal-i - le • an Kine 1 Thou didst suffer to re -

3. Paschal Lamb, by God ap - pointed. All our sins on thee were laid: By al - mighbr love a-

3. Je - sus, hail! enthroned in glo -ry. There forev - er to a - bide; All the heavenly hosts a-

4. Wor-shipy honor, power, and Uessing, Thou art worthy to re - ceive; Loudest praises, without

lease us ; Thou didst free sal - va • tion bring,
noint'- ed. Thou hast full atonement made,
dore thee. Seat - ed at thy Father's side:
ceas - ing, Meet it is for us to give

^

Hail, thou 1^ • o • niz • ing Sav - iour, Bear - er
All thy peo • pie are for - eiv - en, Thro' the
There lor sin • ners thou art plead - ing; There thou
Help, ye bright an-gel-ic spir • its; Bring your

^^^^,<^^f,ff^.f ^ ' afnrifry.f i

^

111 I'.iJjlj^iJl'Mi^J.il'iJ.l

of our sin and shame I By thy mer • its
vir - tue of thy blood; Opened is the
dost our place pre • pare; £v - er for us
sweetest, noblest la3rs; Help to sing our

we find fa - vor ; Life is giv • en thro' thy name,
gate of heaven ; Peace is made 'twixt man and God.
m-ter-ced- ing, Till in elo-ry we ap - pear.
Saviour's merits; Help to chant Immanuers praise I

YE GOLDEN LAMPS OF HEAVEN.

** HoisTsnt."
Phiup Doddridgb.

I. Ye gold - en lamps of heaven, fare - well, With all your fee • ble light;

1. Ye gold - en lamps of heaven, fare - well, With all your fee • ble light;

2. And thou, re - ful • gent orb of day, In bright -est flames ar • rayed;

3. Ye stars are but the shin - ing dust Of my di - vine a - lx>de^

k'jM^ " i | [ i | f Ff i r -^^rri^

I f jij^ i j;^ i r #^-]i,i^ i ,J'Jr3 i j ^ 1 ,11

Fare -well, thou ev - er - chang - ing moon, Fale em
My soul, that springs be - yond thy sphere. No more
The pave - ment of those heaven - ly courts. Where I

of the night,
de - mands thine aid.
shall reign with God.

I -^ I - H^tfiCfr/itr ir

m

The Father of eternal light
Shall there His beams display;

Nor shall one moment's darkness mix
With that unvaried day.

No more the drops of piercing grief
Shall swell into mme eyes;

Nor the meridian sun decline
Amid those brighter skies.

There all the millions of His saints
Shall in one song unite,

And each the bliss of all shall view.
With infinite delight.

i64

FRANKLIN SQUARE SONG COLLECTION

THB melody of the << Spring-time of the Year " is the
fiunons English *< poacher's song." Chappell says the
date or origin of it is difficult to trace ; but it was long
ago so well known among the peasantry of England as
to be sung by hundreds of voices together at Windsor,
at the harvest homes of George IV. . . A ritomella is
a short symphony, before or after the melody, often
containing the burden of the song. " Love's Ritor-
nella," the music by Thomas Cooke, a favorite com-
poser of a htdf century ago, occurs in " The Brigand" ;
the words are by J. R. Planche, who is said to have

prepared for the stage some tw# hundred pieces, orie;!-
nal and translated. He died in London in 1880, at the
ripe age of eighty-four years. A London friend says
of him : " Laie in life, when he had hoped to repose
on his laurels, his daughter was left a widow, and other
misfortunes threw his children's children largely on his
hands. But he bravely accepted the responsibility
without a murmur, and possibly to this veiy fact the
world may owe the two latest and the ripest prxxioc-
tions of his ereen old age." . . . The original air of
« Lochaber No More " is supposed to have been com-

I'D OFFER THEE THIS HAND OF MINE.

With expression.

of - fer thee this hand of

2. I leave thee in thy hap -pi

3. And now my dreams are sad-ly

mme,
ness,
o'er;

■f- ■&■

If I could love thee less; But

As one too dear to love; As

Fate bids them all de • pait; And

J:J'jTJi'Ui:.-f l

hearts as warm and pure as thine
one I think of but to bless,

I must leave my na-tive shore.

Should nev • er know dis - tress.
As wrctdi - ed • ly I rove.
In bro - ken « ness of heart.

My

But
Then

f^Vj, \ ti i< ti u jj n r^;; i »'UU' |. II r l ilt

r=^

' for • tune is too hard for thee ;
oh! when sorrow's cup I drink,

oh ! dear one, when far from thee.

'Twould chill thy dear - est
AU bit - ter though it

I ne'er know joy a

joy; rd

be. How

gain, I

biiurxffCFirf ^fr'Ft r | |^-^ ^

^E

:^i=:1t

d ! d g g

i

3 9 t> j

^PP

w

Than win thee to de • stroy.
It holds no drop for thee!
Should give thy bo • som pain.

rath • er weep to see thee free,
sweet 'twill be for me to think
would not that one thought of me

m

lougnt

rirtr ^ - i rT f i:ii'"riii

posed by M^les Reilly about 1675, <^^ ^o have been
introduced mto Scotland some years later by Thos.
Connallen, known as " the great harper." The song
is found as given in this collection, in Ramsa3r's Tea
Table Miscellany, published in 1724. It is said that
military bands of tnc English army are forbidden to
play this air because of the effect it has upon the High-
landers in her Majesty's service. . . Of the beautiful
'* Serenade of Don Pasc^uale," a fine critic says : " It
illustrates the power of giving utterance to ideal beauty
of sentiment through sottn<& more than almost any

other music that we have ever heard." . . The severs!
stanzas of the '* German Watchman's Song" are sung
as the hours of the night are successively announced,
the custom prevailing among the watchmen in some
parts of Germany, of singing devotional hymns as well
as songs which are of a national or amusing character.
It is an old custom and unique, soon to be only a memory.
A VERY important part of musical training is com-
prised in the early and unconscious period of rote-
singing. Habits, good or bad, are formed at this time,
which will underlie all vocal expression in afiei-life.

FSAJfKLm-SQUARE SONG COLLECTION.

165

TAKE BACK THE HEART.

Mfts. Chas. Baknakd.
(Claubbl. )

Moderate,

1, Take back the heart that thon gav • est, What is mine anguish to thee!

2. Then when at last o - ver - ta - ken, Time flings its fet - ters o'er thee ;

:, what is

|'"JJJ I iiiU:IJ:H.l^ l ji:il^^'^

Take back the free-dom thou era - vest, Leaving the fet - ters to me.
Come with a trust still un - shak - en, Come back a cap - tive to me.

^)ilk.. g

FF i ppT i FMF i rrp i pp:^irMf>^»i

e^

'ake back the vows thou hast spo - ken, Fling them a - side and be finee;

!ome back in sadness or sor - row, Once more my dar-linff to be;

Fling them a - side and be finee;
Once more my dar-ling to be;

PB

fpppff: i r^^.fffF l jjj l JTTJ-M

Smile o*er each nit • i - ful
Come as of old, love, to

,m

V

to
bor

ken, Leav - ing the sor-row for me.

row Glimpses of sunlight from me.

hifpf i FFPi i :: fr^. \ iff \ ff^^.f \ p.i ^

f " J J J l Jii l dikJJi.^i I J J J 1 4^g

Drink deep of life's fond il ■
Love shall re-sume her do •

lu - sion. Gaze on the storm-cloud and flee,
min - ion, Striv-ing no more to be free.

Swift -ly thro' strife and con • fii
When on her world- wea-ry pin

sion,
ion.

Leav-ing

Flies bade my lost love to me.

l66 FRANKLIN SQUARE SONG COLLECTION.

. WHEN NIGHT COMES O'ER THE PLAIN.

H/dJlJ'Jj llriiJJjiUJ J l J:. i fl l J».^

SlDNBY NbLSON.

^

AU^t^o ammato. xst Vcieg or Semi'Ckaru*.

1. When night comes o'er the plain, And moonlight o'er the sea, Oh, meet me once a-

2. At evening's qui - et hour. Oh, leave thy mountain - home, And seek the peace -fill

I 2Md Voict.

gain. Where oft I've welcomed thee. When first the glow-worm's ray Il-lumes the ver-dant
bower To which we used to roam. I'll sing thee old- en songs, The long- neg • lect • ed

h^rm\\}rfU ' [\\\r^\\\\l

lea, rll leave my lone - ly way, And wan-der forth with thee. How dear is ev - 'rj

lea, ril leave my lone - ly way, And wan-der forth with thee. How dear is ev - 'ry
lays, Whose brightest theme be - longs To youth's de • part - ed days. How dear is ev • 'ry

J

Iti-'ffnrB r f i rf ^f [[■ f i^^ i f fr i

tf' Ji J l j J J J;:J;M J^JlJ:diJ j-J ^

Spot Where ofk in youth we strayed. The mountain and the cot, The streamlet and the

f')»f>]; i f Ff f i rr^ i f fr ff .f i p,^

fe f,' I ij i -l>irH i li.i; i J.JJJi , h . i/^i-J»fl d

glade, The tree whose branches hung A - bove the flow • ing rill, Up- on whose banks we

H'fifff i rrrlf i^

riiard.

tang The songs that haunt me still; The tree whose branches hung A • bove the flow - ing

FRANKLIN SQUARE SONG COLLECTION

167

riU, Up • on whose bimks we sung The songs that haunt me still ; The tree whose branches

ebimksw<

} ^fif ^ fft^ , fxf^frra « | F" p s

tf''l;.].r i J. . rJJ iJ . j flj.j'H i |;:F;i-J.f, j^^

estiil.

hung A - bove the flowuLg rill, U^ on whose banks we snng llie songs that haunt me

rr i rrrr i ^ rrr-ri'^ritif

m

GOD HATH SENT HIS ANGELS.

Eastkr Htioi.

I. God hath sent nis an - gels to the earth a - gain, Bring -mg joy- ful tid - ins

I. God hiUh sent his an - gels to the earth a - gain, Bring •fngjo^-jful tid - incs
3. In the dreadfid des • ert, where the Lord was tried, There the faithful an • gels
3. Yet die Christ they hon -or, is the same Christ still, Who, in light and dark - ness.

'.I'ri'i'i'^'rrrrri^Vi'i^^^

^m

TrebUt.

m

^

to the sons of men.
gathered at his side,
did his Fa • ther's will.

h ij,r'cr°n:i 'r ff Mf. \

Thej who first at Christ - mas, thronged the Heavenly way,
And when in the gar - den, grief and pain and care,
And the tomb de - seit - ed, shin - eth like the sky.

^

Now beside the tomb
Bowed him down with an
Since he passed out from

Eas-I

door, sit on Eas • ter Day. An • gels, sing
gttish, they were with him there. An-gels, sing his
it, in -to vie - to - ry. An -gels, sing his

as you sang his birth, "Christ the Lord is ris • en! Peace, good- will on earth."

4. I 5. 1^ I

God has still His angels, helping, at His word.
All His faithful chilcbren, like their faithful Lord;
Soothing them in sorrow, arming them in strife,
Opening wide the tomb-doors, leading into life.-CI^.

5. ^

Father, send Thine angels unto us, we pray;
Leave us not to wander, all along our way.
Let them guard and e;uide us, wheresoever we be,
Till our resurrection bring us home to Thee.-Ob.

i68

FRANKLIN SQUARE SONG COLLECTION

That singing lessons should be given to all young
people who have the least giit for it, is a point which
cannot be sufficiently recommended to parents. For,
aside from the aesthetic pleasure to be derived from
music, the exercise of the vocal organs often has a most
remarkable effect on health. Dr. Martin, of St. PauFs
Cathedral in London, who has had twenty years' ex-
perience in training an average of forty choir boys,
states that he has never witnesMd any pulmonary diffi-
culty engendered, and that the health of many boys
of consumptive dis[>osition has improved under lus

training. Moreover, "it is very rare to see children
trained in singing suffering from that very common
defect in this country, of breathing through the mouth
instead of through the nostrils;" and the full respiration
required in singing has also a beneficial influence on dir
gestion. There is, however, a great difference between
the natural and the artistic use of the voice, which is>
well expressed by Madame Antoinette Sterling: *'A
girl may commence singing as early as possible. Culti-
vation of the voice should not commence till after the
change to womanhood, ordinarily." Dr. Stainer sayst

TIT-WILLOW.

Akthitr SuTLtvAir.

W. S. GiLBBRT. " From " MiXAOO.'

^' ^ II jji J J J a V Ji J ; ;/ j jii J j- J .\t m

1. On a tree by a riv - er a lit - tie tom - tit Sang, "Willow, tit-wil-low, tit-

2. He slapped at his chest as he sat on that bough, Singing " Willow, tit- wil-low, tit •

3. Now I feel just as sure as I'm sure that my name Is - n't Willow, tit-wil-low, tit-

pjj^"jj i j'ij'J.ii^ i-i J;/^^i; - f"j;':^

wil - low ! " And I said to him, •* Dicky-bird, why do you sit Singing " Willow, tit-willow, tit -
wil-low!" And a cold per-spi-ra-tion be-spangled his brow. Oh, wil-low, tit -willow, tit-
wil-low! That 'twas blighted affection that made him exclaim, "Oh, wil-low, tit -willow, tit-

wil - low ? " " Is it weal^ness of in - tellect, birdie ? " I cried, "Or wounded af - fee - tion you
wil • low ! He sobb'd and he sie h' d and a gur-gle he gave, Then he threw himself into the .
wil-low!" And if you remain cu-lous and ob-du-rate I, Shall per-ish as he did, and

cannot abide ?" With a shake of his poor little head, he replied, " Oh, willow, tit-willow, tit- willow ! "
billowy wave. And an .ech - o arose from the suicide's grave, " Oh, willow, tit- willow, tit- willow ! "
you wiH know why , Tho' I probably shall not exclaim as I die, " Oh, willow, tit- willow, tit- willow ! "

" Little girls should not have professional training, as
their tender voices are often permanently injured by pre-
mature efforts. A female voice should not go through
any serious work of training until womanhoc^ has been
reached." And Mrs. Curwen gives her personal testi-
mony thus: "When I was a child singing was not
taught in schools, so I escaped the habit of shouting
and straining, so common with children who go to
school. And I never had singing lessons until nearly
nineteen years of age." Provided the natural voice is

used, avoiding all strains and loudness, children caxmot
easily sing too soon and too much. For, as Mr.
SheiTington says, " Early training sharpens the sense
of hearing, and early use of the vocal cords stretches
and strengthens them. In the case of boys complete
rest at the period of puberty is much more important
than in the case of girls, and the common neglect of such
rest is probably the principal reason why the number
of boy choristers with fine voices who attain eminence
as singers in their after-life is very small. "-*iVa/iV».

FRANKLIN SQUARE SONG COLLECTION.

WEARING OF THE GREEN.

169

DRm BovacAVLT.

i7;j; i^ ^i''jij; ;; i ^:r i Jjfji

1. oil! Pftd-dy, dear, and did you hear the news that's go - ing round. The shamrock is for -

2. Then since me col • or we must wear, is England's cm - el red, Sure Ireland's sons will

3. But if at last our col - or should be torn fzom Ireland's heait, Her sons with shame and

I I iiVrrr i r ri Ti[[rrir ic** ^

%^ jjjj i jjj-j i j j^ijjjjijjj ji^ ^

bid br law to eiowon Ir-ish ground; Saint Patrick's day no more
ne'er (on[et,the blood that they have shed ; You mav take the shamrock
sor-row Som the dear old soil will part ; I've heard whisper of a ooun-

we'll keep, His color can't be
from vour hut, and cast it on the
try that lies fax beyant the

m

rrfi'igi' i 'i' ii ' Affffiffrr i ^^f

^'if-rf-fi-fiVj i ^jjj i j ^"' 1

seen. For there's a blood- y law a - gin' the Wear • in'
sod. But 'twill take root and flour - ish still, tho' un - der •
say, Where rich and poor stand c • qual, in the light of

o' the Green; I
foot 'tis trod; When the
free-dom's day; Oh,

met with Nap -per Tan-dy and he tuk me by the hand. And he said '< How's poor ould

law can stop the blades of grass from grow- ing as they grow. And when the leaves in

E - rin must we lave you, driv - en by the ty- rant's hand, Must we ask a moth-er's

i ^QiiJ"jjii;iii^ii I ' III rrii

Ire-land, and hqw does she stand?" She's the most dis- tress -fill oonn-txy, that

Ire -land, and hqw does she stand?" She's the most dis- tress -fill oonn-txy, that
summer time their wdure dare not show; Then I will change the ool-or I

welcome from a strange but hi^py land? Where the cm • el cross of England's thraldom

ev - er yon have seen; They're hanging men and women there for wear -ing of the green,
wear in my can -been, But 'till t£a day, m stick for aye to wear -ing of the green,
nev - er shall be seen. And where, in peace, we'll live and die, a -wear -ing of the green.

''-i\m *i\[ ^ ' ^'^ \ ii^i \ \ivi-^

HJO

FJtANKLIN SQUARE SONG COLLECTION.

NURSERY SONGS.

f h ^;^ii \ i*^i\im \ iiii^^ \ ^^ \ ^

LlTTLB OkBS.

-M-

1^^

A, B, C, D, E, F, G, H, I, J, K, L, M,N, O, P, Q, R, S,and T, U, V,

i^ ^ffirr i ppra

*

f-r-rr

tcto:

^

#-»

t=t

«:

1^ ^ u* k

U4:

r'^'.'ijj i ,';ijh,i i ;:d' i r:7yijj i jjijj

Hap-py,

W(double.you),and X, Y, Z.

hap-py shall we be, When we've learned our A, B, C.

(g^ii^rf

H^ i rf i ff i PP i f' i FF i FF i FF i f

x=x

■BIBABUTZEMANN.

^ a Umpo,

ay dances Bi - ba - butzemann, All in and out and round about ; Gay dances Bi • ba - butzemann, Our
£s tanzt ein Bi - ba • butzemann, in unserm Haus, herumdi dum ; Es tanzt ein Bi - ba - butzemann, in

kiigifTrF i FgFC i pgfgig€Pg ii fTrF i p ff

jj'j j UH i Jij;j;ijJ^ ii j;j.^j^'

1^

D,S. at Fine.

^

house all round about. He whirls himself and twirls himself, And flings his bag behind himself. Gay
un - senn Haus herum. £r rttt - telt sich und schiittelt sich er wirft sein S&ckchen hinter sich. Es

FOX AND GOOSE.
MotUrate.

m ^ iU\n;^ ii \ i ^i j/ e g i ^: m^

I. Fox,

, you've stolen my grey gander, B^er bring him back, Better bring him back ! There's a hun • ter

2. Soon he will, Ids ri - fle showing, Shoot jrou in the head. Shoot you in the head I Fast the red drops

3. lit -tie fox, beware, there's danger. Thieving will not do. Thieving will not do! Bet • ter be to

Wl.1 P g g ^ 1 ' f ^f if f f f i r ■ 'if Tfl|£4 ^

y- y".r;,nj jV-rij.-j^M j;; J ! / j; P

^=5

^^onder. He is on your track. There's a hunter, watching vonder, He is on your track,
will be flowing, You will then be dead, Rist the red drops will be flowing, You will then be dead,
goose a stranger, Mouse is best for you, Bet • ter be to goose a stranger. Mouse is best for you.

^

rrn[[:fri:r::rr-nrrnTnfl

^

^

Fuchs, du hast die Gans gestohlen,

Gieb sie wieder her,
.Sonst wird sie der jAger holen,

Mit dem Schiessgewehc.

Seine grosse lange Flinte,
Schiesst auf dich den Schrot,

Dass dich ftlrbt die rothe Tinte,
Und dann bist du todt.

Liebes Fdchslein lass dir rathen,
Sei doch nur kein Dieb:

Nimm, du brauchst nicht, Gflnse-
Mit der Maus fiirlieb. [ braten

FRANKLIN SQUARE SONG COLLECTION.

NURSERY SONGS.

171

J. W. Eluot.

1 . I love lit • de pus-sy, her coat is so warm, And if I don't hurt her, she'll do me no hann. So I'll

2. I love lit -tie pus-sy, her coat is so warm, And if I don't hurt her, she'll do me no harm. She'll

n\ i bfrsF^fi

\ C M*t I

^^ft

m m m

4 1 1 !

^^

W W ^

1 ^ ■f.r.r.P'Nj'j^^^ ij I rhri];

not pull her tail, nor drive her a - way, But pus - sy and I ve - ry gen - fly will pla

not pull her tail, nor drive her a - way. But pus - sy and I ve - ry gen - fly will play,
by my side, I'll give her some food. And pus- sy will love me be • cause I am good.

sit

^'FFFcT^irgfi^ i gcirggncggf i!

^J i j i .rj'J.y i ^'JTnJjjj i ^

1. Hot cross buns, One a pen -ny buns; One a pen-ny. Two a pen-ny« Hot crocs buns.

2. Fresh, sweet buns, Come and buy my buns ; One a pen-ny, Two a ^n - ny,Fresh, sweet buns.

3. Nice, light buns, Buy ;

my currant buns ; Come and try them,Then you'll buy them, Nice, Ught buns.

rrrrr i i'j^jffff tmji

if,'v jfr i uu'j ii rr i j iirrirpfii ii.nii

^1

1 . Lav - ender's blue, tra-la-la-la ! Lavender's green, When I am king, trsrla - la -^ I You shall be queen.

2. Call up your men, tra-la-la-la ! Set them to work. Some to the plough, tra-la-la-la ! Some to the cart.

3. Some to make hay, tra-la-la-la I Some to cut com, While you and I, tra-la-la-la ! Keep ourselves warm.

ffff i gte i ;;fif: i g rrir^ ff i[[[i r

^

Fid - die - de - dee, Fid - die - de - dee, The fly has mar - ried the bum - ble bee.

iif rrr rr rr : tmhFiF t f

m,

=^

ij> ^N i i ri'frirrrf r i rm nnr

D.C.

I. Says the fly, says he, "Will you mar - ry me? And live with me, Sweet bum - ble bee?"

gn-[r [ |: ii 'l'"i'''£r5ff i fffr

m

^

Says the bee, says she,
^< I'll live under your wing,
And you'll never know
I carry a sting."

So when Parson Beede
Had join'd the pair.

They both went out
To take die air.

And the flies did buzz.
And the bells did ring,

Did you ever hear
So merry a thing?

And then to think.
That of all the flies,

The bumble bee
Should carry the prizel

173

FRANKLIN SQUARE SONG COLLECTION.

TOO LATE, TOO LATE

Andant* largJUtto,

M. LmpsAT.
Alfrbd TnonraoN.

f""j ftii^j'^^V^j^j^'-ij Ji'^Syi/jj;^"!

I. Late, late, so late! and dark the night and chill! Late, late, so late! Bat we can en- ter still.

f ' 'n*\'j f'vj'^ ji

Too late! too late! ye cannot en-ter now. Too late! too late! ye cannot en-ter now.

m ^ , m m*m 0uf^

No Hght had we: tor that we do re-peni

r m4 i -l. iiJ ^

^m

in=g

Jt'^g J J

len

No Hght had we: for that we do re-pent, And, leazn-ing this, the bridegroom will re -lent.

i

too late! ye cannot en-ter now. Too late I too late I ye cannot en-ter non

l > » rJ JiT J

^

i^

Too late! too late! ye cannot en-ter now. Too late I too late I ye cannot en-ter now.

=2=*3

te-

Si

P'gFiF - rrHpr- gi gpgpif 'H i

| (j'/''.r i J,;j7l;;J,^h' l ^:f/f; l j;J.;

2. No light! so late! amd dark and chill the ni|[ht; Oh, let us in, that we may find the light.

||/;jj'd; jU ;j-.jj ! - | J J>'l j

r

^

Oh, let us in, that we may find the light. Too late! too late! ye cannot en-ter now.

^

i| - i [' flif HFHFF- nfr^

fczt

FRANKUN SQUARE SONG COLLECTION.

173

Too late] too ktc! ye cannot en-ter now. 3. Have we not heard the bridegroom is so sweet?

\\\-\^*\\H % ^^\ V- \ fV %H \ \ l\'^

^^

^^

tup^UandofS

A suppitcana

^

E

3

wt=sz

—1 — a — ^ ^

M=*l

Oh, let us in, that we may kiss his feet, Oh, let us in. Oh, let us in,

Oh, let us in, though late, to kiss his feet. No! no! too late! ye cannot en- ter now.

THE GOLDEN SHORE.

JswtsK Air.

'jj^y-jUji^ i"^^ j i j'^j-iU^i

-c^ I ^ "^ -W -z^ -^

1. Lot the seal of death is breaking; Those who slept its sleep are wak-ing;

2. There, no more at eve de - clin-ing, Suns with - out a cloud are shin-ing

3. There no sigh of mem-*ry swelleth; There no tear of mem-'ry well-eth;

ailf^f^'^lf^fl^^^ l f^Plf^-f^

^

^

^)^'!' ^j^\^^ji\^^ii^

tals fair! Hark! the
life and love; There the
break no more; Past is

Heav • en opes its
O'er the land of
Hearts will bleed or

harps of God are ring • ing,
founts of love are flow • ing,
all the cold world's scorn - ing,

Hark! the ser - aph's hymn is fling • ing Mu
Flowers un • known to time, are blow -ing In
Gone tlie night, and broke the mom - ing O

r—r

■ sic on im - mor - tal air.
that ra • diant scene a • bove.
ver all the gold - en shore.

p: p i p: pip: pp: Frrlp f^ i i^ ^

174

FRANKLIN SQUARE SONG COLLECTION.

I HAVE long loved art and poetry, because I saw
that they had a power to raise and soften humanity;
more lately I have seen that they are good in them-
selves, — or whence, but from their native affinity with
the things that are more excellent, should come this
acknowledged power? Why, when the heart would
reveal its truest, deepest instincts, does it seek to express
itself in music? why, when the mind would utter
forth words of nobleness, — when it would be truer and
sweeter than it can be under its ordinary conditions,
does it speak in poetry ? Q)uld there be a prose psalm ?
Even in dancing, there seems to be something of this
desire to escape into a region less fettered, but more
ordered, than that in which we ordinarily move. A
subtle charm lies in the apparent freedom of the move-

ment, and the sense of its being bound to the mnsic ; a
pleasure akin to that which music itself gives us, in that
It must fall back upon an inevitable, rigorous law. The
mind loves to feel itself under a harmonious necessity,.

Breaking its order, yet stiU to that order returning.
Changing and winding, yet true to its measure and law.

And in obeying this it attains a double emancipation*
for in confusion there is ever bondage; and it is to this-
confusion, the want of rhythm and oulence in life, the-
absence of a clear purpose and intention, that it owes,
so much of its weariness and sadness. Have you not.
felt how much there is in life which genders to bond-
age ? We are straitened in ourselves and in each other,,
fettered to a routine which makes us often say, with Johui
Bunyan, And so I went home to prison. — Two Friends.

SORRY HER LOT.

Akthvr Sux-lxvam.

W. S. GiLBBRT. "PlHAPORB.'

tf/WJ d'lL LL-g/l. il g pi j-j J^j al J i

AndanU,

I. Sor-ry her lot

10 loves too well, Heavy the heart that hopes

avt cAfe 4>l«A »fi'n Qa/I «e 4-Vo «ii/vKt ^t\ ^a>>li*e r%f

who loves too well, Heavy the heart that hopes but vain - ly ;
2. Sad is the hour when sets the sun, Sad is the night, to earth's poor daughters.

eiv.^!{ *-ti \if^f' f c IP t T E irr g F^^

f KrM l?^.U' lM i \ SiUU^.

Sad are the sighs that own the spell Uttered by eyes that speak too plain - ly.
When to the anc the wearied one Flies from the emp • ty waste of wa • ters.

m^f'ggff gifff:;gfir'Tggc i pffi:

P H l^\ l \ ^l\M.U\^^' i \i A '

Sor - ry her lot who loves too well, Heavy the heart that hopes but vain • ly.
Sad b the hour when sets the sun. Sad is the night to earth's poor daughters.

^

^ttrFM^t i " i rrrrr^

| jf»iJ,Jl l fJ!l l VJgf^

t/ Un poco animato, ' ^""^w

^^

^S

F

Unpoco animate,

Heav-y the sor-row that bows the head. When love is a • live and hope isdead,Wheni

love is a -live and hoge

hope, and hope is <

lead, love is a -live and

U?

■ fRANKUN SQUARE SONG COLLECTION.

MONARCH OF THE WOODS.

/-J

1 75

J. W. Cmbwt.

f '^l <) ^' ^L \' SU^^ ^ ^-'''^UW

w^

1 . Behold the monarch of the woods ! The mighty old oak tree ; He braves the ragine of the

2. How oft the monarch of the woods, Upon a summer's day, Has seen the merry diildren

X

A

i^

h'i'.-*^w'0fW*^\r : f e i p'/i^^ ^

| (i /i^ii ; j;i. i U'ai liJ J ii i /J i J . Jr'V '

^

stonn, On land or roll-ing sea; He waves his branches decked with green, In summer's golden
sport, And 'neath its shadow play ; From youth to manhood they spring up. And old age comes at

r Fig ^n

r m

*

^£

L U U L L ' I ^^

rr

slow.

<^ , ^

^

a ; i, i' l i i j>ji

dtm

-^-#

vy clothes his leaf • Tess form Thro' win • ter's firost and snow : King
Then green grass waves up • on their graves, And all life's dreams are past ! Yet

glow, And i
last.

a Umpo con tpirito.

|^j;j''^7ijvijJVJ"^r i ^v i j:;;j'J

Time, the conqueror of all. He bold • ly doth de • fy. For green and hearty will he
stronger grows the mighty tree, In hale and heart - y prime. And stands the monarch of the

b"FPS r:S-5i FtHfAs^i:i ,c: ^ EEgF

Rtptai Chorus cuLlib.

Stand When a - ^es have gone by.
woods, De - fy - mg age and time*

Green and heart • y, green and heart - y.
Stands the mon-arch of the woods, the

Wxrrt-^

f P F f

^2^

J:

^r ^ i f gF f i

fcifc:

e±

fi ^ raU.ff ^

% ini \ ^.i \ 7i'm ^^\^ yV . p \'\^\ ^

heart - y will he stand. When a • ges have gone by. When a - ges have gone by
mon-arch of the woods, De - fy - ing age and time, De • fy - ing age and time

-F- m m ,(^^ ^ ^ m m — — -^^ — 1^ , ^^ m m -^ , ra '

m

•C | g>?F-

Sl

terp-|?

■O-i

2=:^

F

176

FRANKLIN SQUARE SONG COLLECTION.

RING ON, SWEET ANGELUSI

H. B. Farnib.
Charlbs Gounod.

AndanU moeUrato.

1. Hark! 'tis the An -geliis! sweet - ly ringing 0*er hill and vale; Hark ! now the melody

2. Now o*er my heart a spell gen - tly is steaHng, For words too deep ; When to the wanderer,

\i^ ^U^ r'h> jf: j u ffl^J^ i'J.>h> r f r-^

maid - ens are singing, Floats on the gale, floats on the gale. On such a night, in years long

com • eth that feeling. He can but weep! he can but weep! I*ve heard the lutein dulcet

^

\\f itff i .rfT i r^f rr i ri' i riTC.ii i

\ i^ ^^.h^'-rjuj-KrJWji^ ^H^-rjii ,r:j^»; {

perished, I too have sung Those dear old lays, so sweet, so cherished, When life was young ! when life was
measure, 'Neath stately dome. But ah I its tones brought me no pleasure. Afar from home, afar from

young I Ah ! ring on, sweet Angelus ! Tho' thou art shaking my soul to tears. Voices long silent now
home I Ah ! ring on, sweet Angelus ! Tho' thou art shaking my soul to tears. Voices long silent now

W:. P-^.^

i fF-r^ i f prfTLffff^^^

I^^^E^

With thee are waking from out the years, from out the years. With thee are waking from out the years !

^. f Pf le^^

w

±

F

t J:i7Jjjlj^-lj:JJVj:j l j-i'VJJa\-|:

^^TT*

SI

zz

^»

r

Oh I sweet Angelus, ring on ! Oh ! sweet Angelus, ring on ! Sweet Angelus, ring on ! ring on !

H. Kcvwn A 00.. Mutio -nrpoaiiAFMUw, mi aron bt.. phila.

FRANKLIN SQUARE SONG COLLECTION.

^11

Elements of Music

!• A Musical Sound is called a Tone*

2* E^ery tone has the three properties of Length,

Pitch, and Pdwer.
8* There are, therefore, three departments in the

Elements of Music : —

1. BIlTthraicSy treating of the Length of Tones.

2. Melodies, treating of the Pitch of Tones.
3- DyBaBies, treating of the Power of Tones.

The word Rhythmics is derived fiom the Greek
Terb ** rhio" meaning to JUw^ as in the measured
movement of poetic lines^ Melod'ics is from the
Greek **mehiPeoi* to sing harmoniously, or **me-
lodfia,** a tune to which lyric poetry is set, a choral
song, from - meVodoi^^ musical or melodious. Dy-
nam'icsisfrom the Greek *<< </ffif'aM4ifV' to be able,
Of ** dun* amis f* force, energy, power.

Rhythmics comprehends all rhytimiic things, or
whatever may be derived from the primary fiaurt that
tones may be long or short It mdudes also the
rhythmic structure of phrases, sections and periods.
Melodies indndes everything that may proceed from
the primary distinction of low or high, or from the
property of pitch. The word "melody," as com-
monly used, is of much more limited signification,
refernng only to a pleasing succession of tones in
ihjTthmic order or to an oMinary tune form. Dy-
namics embraces not only the mere force of tones,
bat also their manner or form of delivery.

BHYTHMICS : L«ngrtli of Tones.

NOTB8 AND RESTS.

4* Notes are characters used to designate two
things: By their position on the staff they give the
Pitdi of the tone, and by their form they indicate
its Length.

0* The following are the notes in common use,
the relative length of the tones which they represent
being indicated by their names.

WHOLX-MOTS. RALy-MOTB. QUARTBR. StGHTH. BIXTBBKrR.

^

T ^ t i

A character 1^1 called a Breve^ or Double-Note^ is
sometimes useo. It represents a tone twice as long
as that represented by a Whole Note.

6. Bests are characters used to indicate sQence.

7. The following are the Rests in common use; the
relative length of the portions of time which thev
represent, corresponds to that of the notes; it is indi-
cated by their names ; the whole rest may also rep-
resent a whole measure rest without regard to the
kind of time :

WBOLB-UST. RALV-RBST.

BIGRTH. SIXTBBNTR.

QUARTBR.

-— r -— - xoriorr "r ij

For brevity and convenience, we shall hereafter
meak of the length of notes, meaning the length of
the tones represented by them.

8. A Dot placed after a note or a rest increases
its length one-hal£ A dotted whole note is equal to
three halves; a dotted half to three quarters. The
sune is true of Rests. Thus :
12

r^^r^ x.^,

"1 1

O. Two Dots placed after a note or a rest in-
crease its lensth three-fourths, the second dot adding
one-half the length of the first Thus :

f-rTt

10« The Figrure 3 placed above or below three
equal notes reduces their length to two of the same

kind. Thus, f r f equals in length P P Notes
written in this manner are called Triplets.

11. Two or more notes may represent a single
tone by the use of a character called a Tie* In
vocal mudc the hooks attached to the notes may be
joined for the same puipose, and the notes ^ould be
sung to one syllable. The Slur is used when the
notes differ in pitch, the Tie ^«^-*>^ when they are of
the same pitch.

ICBA8URB8 AND PARTS.

12* Music is divided into Measures and

Parts— into Measures by single bars and into Parts
by double bars. The time of each measure is die
same as that of every other measure in the part and
is determined by the fraction placed at the beginning
of each part If a part is to be repeated, dots, called
Repeating Dots, precede the double bar.

l8« Measures are again divided into certain parts,
which may be indicated to the ear by QovLntiXk'gf as
«one, two," ^'one two," etc.; or to (he eye by motions
of the hand, called Beats, or Beating Time, The
length of notes may firequently be estimated, but in
complicated movements, it must be indicated as above
by some simple method of measurement

14« A Measure divided into two parts is called
Double Measure ; three parts. Triple Measure ; four
parts, Quadruple Measure; six parts, Sextuple
Measure, Thus:

DOVBLB. TRIPLB. QUAORUPUC. SBXTUPX.B MBASURB.

irri irrn irrrri \^tuu\

15* Bach kind of Measure may have several vsr
rieties, depending upon the length of the notes which
are expressed by the denominator of the fraction. The
following are some of the common varieties :

DOUBLB. TRIPLB MBASURB. QUADRUPLB MBASURB.

8BXTUPLB MBASURB.

|irf rrrr

178

FRANKLIN SQUARE SONG COLLECTION,

The pupil should, of course^be taught that a Meas-
ure may be filled with other notes tluui those used in
the above examples. Let him fill the measures with
notes of different lengths, rests, etc. As will be seen,
a piece of music may begin on any part of a measure.
When it begins on a firactional part, it ends on a frac-
tional part; and the two parts thus formed equal a
complete measure.

16. The Numerator of the Fraction at the
beginning of the above examples indicates the num-
ber of b^ts into which the measure is divided ; the
Denominator indicates the kind of note which
will fill each beat Thus, Ji^ shows that there are
three beats in the measure, and that a quarter note
will fill each beat

17* The limits or boundaries of Measures, as has
been said, are marked by light vertical lines, called
Bars, the end of a Part being marked I7 a heavy
vertical line, or I>ouble Bar.

18. The end of a line of poetry in hymnal music
is also sometimes indicated by a heavy vertical lice, or
Double Bar, which can have no effect upon the
measure.

10. The end of a piece of music is indicated by Q
a character called a Close* U

20. BeatinsT Time is designating each part
of a Measure by a motion of the hand. In Double
Measure, the hand moves down^ up; Triple Measure,
down, /(g^, up; Quadruple Measure, down, left, right,
up; Sextuple Measure, down, left, left, right, up, up;
or in rapid movement, down, up. This may vary ac-
cording to the taste of the instructor, each having his
own method of indicating accent

21. CountinsT Time is designating each part
of a Measure by a number. In Double Measure, we
count one, two; Triple Measure, one, two, three;
Quadruple Measure, one, two, three, four; Sextuple
Measure, one, two, three, four, five, six; or one, two.
The exercises of beating and counting time are very
valuable, and should be practiced frequently. Beating
time requires motions of the hand at exactly equal
points of time; counting time requires counts at ex-
actly equal points of time. It is common to speak of
tones "as so many beats long," or "so many counts
long." When the leader tells which vray the hand is
moving, he is said to be describing the Hme, Select
melodies from the book for the purpose of affording
variety of practice. Let the dass be divided into
parts, singing and counting or beating time altern-
ately. Ability to count inaudibfy should be acquired
as soon aa possible, for this is essential to success.

22. Accent is a stress given to certain parts of
the Measure. In Double Measure, tiie first part is
accented; in Triple Measure, tiie /rj/part; in Quad-
ruple Measure, ih^ first and third parts; in Sextuple
Measure, the first and fourth parte. In measures
containing two accents, tiie first is tiie principal and
tiierefore louder. The accents may fidl away when
followed by a rest, and may be changed when fol-
lowed by a longer note, this note receiving the accent
and being tiierefore called a Syncopated note. These
rules are, however, becommg somewhat obsolete in
vocal music, the accented syllables and emiiatic
words determining the parts to be accented.

28. A Syncopated Note, tiien, is one that
begins on an unaccented part of a measure and con-
tinues on an accented part Thus, inl T (^ T |thc
second is a Syncopated Note, or a Syncope, and should
always be accented, tiiat is, expressed forcibly, as if so
marked. ^

24. The lengtii of the beate in each Measure is

indicated by certain Italian words, sometimes mo<fi>
fied by other words added thereto, of which the fol-
lowing are the most common :

Adagio — ^Very slow movement

Allegretto— Cheeriul, not so &st as Allegro.

Allegro — Quick, lively, vivacious.

Andente^Rather slow, gentie, distinct

Andantino — Somewhat quidcer than Andante.

Largo— Very slow and solemn.

Largbetto— Less slow than Largo.

Lento-— Slow.

Moderato — Moderate.

Pteato— Very quick.

PreBtissimo— Witii greatest rapidity.

MELODICS : Pitch of Tones.

THB STAFF.

25. The Staff is used to represent the relative
pitch of Tones. It consLste of five lines and four
mces, each line and space being called a degree.
Thus the staff contains nine degrees and the sentence.
'< Name the d^;rees on which Siese notes are found,''
means ** Name the lines and spaces on which these
notes are found."

26. Added lines are used to represent tones
which are too high or too low to be represented upon
the Staff. They may be placed above and below the
staff to any extent desirea, as they are simply a con-
tinuation of the staff, the note immediately above or
below the Staff being in a Space,

27. The lines and spaces of the Staff are named
from the lowest upwards, ist line, ist space, 2d line^
2d space, etc

28* The added lines and spaces are named from
the first line, space below, ist line below, etc ; and
fit>m the fifth \mt,spaee aiove, jst line above, etc
Sdspaoeabove.

1st Una above.

5th line. ^^^

4thUn«._

lat space above.

Sdllne. -
9dlln«. -
IstUne.-

Sdspaoe.

>d apace.

1st apace.

1st Une below.

lat apace below.
%& space below.

20. Each degree is designated by one of the first
seven letters of the alphabet, the position of the letter
never changing unless the Clef be changed.

30. Instead of placing a letter on the staff to
show the abstract pitch, certain characters are used

n called Cletis, which show how the letters zro
3t are applied. Thus, the Treble clef marks JB

^ the position of C on the staff, in the third

TJ space; and the Bass cle( marks the position auS
of C in the second space.

31. In four-part songs the Soprano and Alto are
written in the Treble, and the Tenor and Bass in
the Bass Clef. There are other clefe used by cer-
tain orchestral instruments, as the Alto cle( marlfii^
the position of C on the third line (viola), and the
Tenor clef, marking the position of C on the fourth
line (trombone).

SOPRANO AND ALTO.

TBNOR AND BASS.

-r-

The C on the first line below the Treble Staff, and
the C on the first line above the Bass, represent the
same tone. It is called Middle C. The tones of the

FRANKLIN SQUARE SONG COLLECTION

179

FenuJe voice are an octave higher than those of the
Male, hence a Soprano solo song by a "tenor sounds
an octave lower than the notes in which it is written.

32. The different parts are commonly represented
in mnsic by two or more staves, united t^ a Brace^
and called a SoOFe*

33. The Absolute Pitch of Tones (the pitch
independent of scale relationship), is designated by
the letters naming the degrees of the Staff; as. A, B,
C, D, E, F, G. The position of these letters is fixed
and unchangeable while the clef remains unchanged.

34* The difference of pitch between any two
tones, as from A to B, from A to E, from C to G, etc,
is called an Interviil. A true knowledge of inter-
vals can only be communicated through the Ear,
The pupil must listen carefnlljr to tones and compare
them constantly. Without this practical acouaintance
with die subject, names, definitions and illustrations
are of little account

35* In the regular succession of the Natural
Tones, there are two kinds of intervals, larger and
smaller. The larger intervals are called Tones and
the smaller Seoal-Tones. The successive tones
of the major scale, in all the keys, occur in the fol-
lowing onler: Between one and two, a tone; be-
tween two and three, a tone; between three and four,
a semi-tone i between four and five, a tone; between

five and six, a tone; between six and seven, a tone;
and between seven and eight, a semi-tone. These two
half-tones in the octave afford infinite variety in music
Were the eight natural sounds in the octave equi-
distant one from another, there being no semi-tones,
the keys would differ only in acuteness and not in
quality f as now. Choose melodies from the book in
the different keys and give the pupils exercise in read-
ing these intervals of tones and semi-tone&

36. Between any two tones of the Staff having
the interval of a step, another tone may be inserted,
dividing the step into two half-steps. Thus, a tone
may be inserted between C and D, etc. Some sing-
ers of Southern Europe add a certain brilliancy of
effect by again dividing the half-step; but ability to
do this is not possessed by the people of Central or
Northern Europe, or of America.

37* The degrees of the Staff represent these in-
serted tones by the aid of characters called Sharps
and Flats, llius, a tone inserted between C and D,
is named C sharp, or D fiat.

33* A Sharp, ft, placed on a degree, raises the
pitch of a tone a Wf-step ; a Flat, 1?, placed on it,
lowers the pitch of a tone a half-step below that
named by the letter.

30. The power of a sharp or a flat may be can-
celled by a character called a Jl'atliraly |].

Range of the Unman Voice* — The compass of every human voice for singing must fidl some-
where within the wide range of notes ^ven herewith. But, of course, no single voice has ever been equal to
these thirty-one notes at any one penod in life. The boy who sings a high soprano may take nearly all the
upper notes, but when grown to manhood his voice ** changes," and he has abuity to sing only in the three
lower octaves. As to the range of notes here found, it requires a phenomenal Bass to reach the lowest (Great
Double Of and a Soprano only less remarkable to sing the highest (e") with confidence and musical effect
If the reader has not learned the compass of his own voice, it will be both interesting and satisfiictory to test,
with piano or organ, for its highest and lowest notes, as well as for those tones in which it is strong and full, or
weak and uncertain. By intelligent practice the compass may be increased and the tones improved.

i

?ct

f^

^M

m

^

t±:

^^^^

^

m

lit

w

GABCD EFGA B cde ffirabc'd'eT gr' a' b' c" d" e"

The Staff in the Bass clef extends from G to A.
Three notes intervene between this and the staff in
the Treble, which, as will be seen, may be written in
either clef, above the Bass or below the Treble. Of
these, the middle note (c) is known as «« Middle " C—
because midway between the two clefe. The treble
clef extends from e to f. All the letters below G in
the bass and e in the treble, occupy places in success-
ive order downwards on the added lines and spaces
below the staff; all above A in the bass and f in the
treble on the added lines above the stafil •< Middle
C " (c) corresponds to the fourth note on the G string
of the violin at ordinary concert pitch, or to Middle C
on piano or oigan. Great Double C, or Contra C, as
it is called, having about thirty-three vibrations to the
second, the next higher C doubles that number; and
so on, each octave higher doubling the number of vi-
brations of the octave next below it

The entire ntnge of the human voice in music— from
^west Bass to highest Soprano— may be reckoned
from Ep below the staff in the bass clef, four octaves,
to Ep above the staff in the treble clef. Vocal sounds
lower or higher than this seem to have little power of
expression in any sense. Voices are usually consid-
ered under three divisions for the male, and four for

the female sex; Bass, Barytone, and Tenor, Con-
tralto, Alto, Mezzo Soprano, and Soprano. The usual
range of the Bass is from F or £ below the bass clef,
rarely lower, two octaves to f ; Barytone, from G, on
first fine of bass clef, two octaves, to gf ; Tenor, from
C,two octaves, to c'j Contralto, the deepest female
voice, from F to c", being two and one-half octaves;
Alto, two octaves, from F to f\ Mezzo Soprano, from
A to a'; and Soprano firom ** Middle C " (c)f two oc-
taves to c", which is also indicated as c'* Middle C
has about 132 vibrations to the second, and is pro-
duced by sound waves from eight to nine feet apart
Waves at half that distance apart, produce a tone one
octave higher, half that again the next higher octave,
and so on. In large organs, C, an octave below Con-
tra C, with 16^ vibrations per second, is reached, but
the effect is imperfect. The piano reaches a^» with
3,520 vibrations per second, and sometimes c*, with
4,224rvibrations. The highest note taken in the or-
chestra is probably d*, on the piccolo flute, with 4,752
vibrations. The practical range in music is from 40
to 4*000 vibrations per second, embracing seven oc-
taves. The human ear is, however, able to compass
eleven octaves, that is to say, it notes vibrations rang-
ing from 16)^ up to 38,000 in a single second of time.

i8o

FRANKLIN SQUARE SONG COLLECTION,

40. A Double Sharp, 5K, is used on a degree
affected by a sharp, to represent a tone a half-step
above the one affected by the sharp : its power. may b«
cancelled by a sharp ana natural, ^jM, A I>oul>le
Flaty ^t is used on a degree affected by a flat, to
represent a tone a half-step below the one affected by
a flat ; it may be cancelled by a flat and natural, |z|].

41. The SUniatare of a Staff is the part be-
tween the clef and the fraction ; it is named from the
number of sharps or flats which it contains. If there
is no signature, the notes correspond with the white
keys of piano or organ.

42. A sharp or a flat in the signature applies not
only to the degree on which it stands, but also to all
others which represent the same pitch.

43* A sharp, a fiat, or a natural, placed outside
the signature, is called an Accddentaly — appearing
« accidentally" in the measure— and applies only to
the degree on which it stands.

44» If not cancelled, as stated above, the signifi-
cation of a signature extends to the end of the Staff;
that of an accidental — ^whether fiat, sharp or natural —
extends no &rther than the measure in which it appears,
except when the last note of a measure is nat or
sharp, and the first note of the following measure is
the same letter ; then, if it is syncopated, the influence
of the accidental extends to that note.

THE DIATONIC 8CALB.

45. The Relative Pitch of tones is indicated by
a Scale, or Tone Ladder.
46« The Diatonic Scale, generally called the

Scale^ consists of a regular succession of intervals
from the key-note to the octave, ist, 2d, 3d, 4th, 5th,
6th, 7th, 8th, or octave, it having been fouhd most
agreeable to join to the seven sounds of one group
the first of the next higher, making eight in all. The
key-note is the first note in the Scale. This Scale is
also called the Major Scale, to distinguish it from
another scale, having its semitones in different order,
and called the Minbr Scale, In the compass of the
scale there are five whole tones or degrees and two
semi-tones or half-degrees. Commencing on C, Uiat
is making C one of the scale, these semi-tones are
found between the 3d and 4rtli and 7th and 8tli
degrees. Here we find between the ist and 3d degrees
two whole tones, making a «< major " or greater third.
All music written on the scale when so constructed is
said to be in the major keys; and this scale can only
be formed from the notes in their natural order by
commencing on C. There is, however, another series
of notes, equally well-fitted for expressing musical
ideas, which is formed by commencing on A insteul
of C, and which, in the natural order of tones, can
benn only on A. In this scale the semi-tones always
£Ur between 2 and 3 and 5 and 6* Here between
the 1st and 3d degrees there are not two whole tones,
but only a tone and a half, making the *< minor '* or
lower tfiird. All music written on the scale when so
constructed is said to be in the minor keys, which are
often most expressive.

47. The tones are named by Numbers and also by
Syllables, the latter to afford greater variety of vowel
sounds for practice, as well as to form an easy associa-
tion of degree name and relative pitch of tone-^the
same syllable being always used in singing the same
tone. Do is always one. Re always two, and so on.
The numbers and syllables are as follows :

By numbers: x, 2, 3, 4, 5, 6, 7, 8.

By syllables: Do, Re, Mi, Fa, Sol, La, Si, Do.
(Pronounced Doc, Ray. Mee, Fah, Sole, Lah, See, Doc.)

The names .of the notes. Do, Re, Mi, etc, vibrate
throughout the scale, their places depending wholly
upon the location of the Key-note, which is always
called Do, and pumbered one.

48. There are, as has already been said, two kinds
of intervals in the Diatonic scale : Steps and Half-
steps, the intervals between 3 and 4, and 7 and 8,
being half-steps, while all the others are steps. The
half-steps, or semi-tones, should always be sung
*< sharp," the voice being slightly pressed or driven
above, rather than permitted to fiul below the tone
indicated by the note upon the staff

40. In writing the Scale, any tone may be taken
as one, or Do; when this is determined, the others
must follow in regular order. In the examples below,
one or Do is pla^ on C, as the intervals of the staff,
beginning witii C, correspond with those of the scale.
All the steps in the key of C are therefore natural
steps. As shown in the following examples, the scale
is extended upwards, by regarding eight, or the octave
above one, as one of an upper scale ; and downwards,
by regarding one as eight of a lower scale.

50. The Scale, as written upon the staff, in the
key of C, in both cle6, is as follows : —

(\

V in ^

iflL ^x m ^

fW\ ^ a* "

VUJ

1^

Di,

3, 3f
re, mi.

4>
fit.

•ol,

1^

6, 7, Son, a, 3.
la, si, do, re, mi.

>5; ^^

2X

^ ^

■^ ^ ^

Bf

X. «, 3» 4, 5, 6, 7, 8orx, s, 3, xorS.
Do, re, mi, &, sol, la, si, do, sol, mi, do.

THB TONS LADDER.

51 • The fiict that these Eight Degrees indnde
every possible distance except the none and deceme
(ninth and tenth), at which musical tones can be
placed from each odier, was discovered some centuries
ago in Italy. When sung consecutively the thought
of ascending or descending a ladder was naturally
suggested, and the term "Scale" (Italian word Scala^
meaning *• ladder,") was adopted. The propriety of
the name has caused it to be retained by musiciaaa.
The order of tones being a «• ladder," the distances
between them are naturally called steps. The tones
of the Scale can only be learned bv imitation.

The Scale or Tone Ladder may be drawn or neatly
painted on the blackboard for permanent use in the
form here shown, six or eight inches wide and ei|^-
teen high, which will afford spaces three inches in
height to represent tone intervals, and one and a-half
inch spaces for the semi-tones. Let the scale names
and numbers be given as here. The exercises should
be written by the side of the scale in bold fig-
ures. Commas may be used after the figures to in-
dicate short notes, and the dash for notes prolonged.
With the pointer, the teacher can direct the work of
the class more readily, singing the exercises back-
wards as well as forwards, 1^ numbers, by syllables,
by letters, and by simple vowel sounds.

The following exercises which may be placed upon
the board, as well as sung from the page, will afford
much variety of useful practice. They may be greatly
varied, and supplemented by others to almost any ex-
tent But it is advised that, at first, they be taken in
the order here presented, in short lessons, so that noth-
ing is passed that is not well learned. Let this drill
exercise be pleasantly varied by rote singing— at-
tractive songs and fiuniliar hymns being preferred—*^

FRANKLIN SQUARE SONG COLLECTION

iSi

an of which may afterwards be written in the nmner-
als. These figures can be so written as to represent
tkne octaves, by placing a dash above those that fiUl
below the staiff, btlow those that are above the staff,
and before and after those upon the staff— Che dash
aU the while representing the Stafil

(

ft

1

Lk

Sol

1, 2- 2, 1-
1,2,8-8,2,1-
1,2,8,4^-4,8,2,1-
S; 1,2,8,4,5^6,4,8,2,1-
Re 1,2, 8, 4, 6, 6- 6, 6, 4, 8,2,1-
^12845678-87654821-

1SS4 14SS

1S48 148S

18f4 S184

184S S148

S814
S841
S418
S481

81S4
814S
8S14
8S41

841S 4S18

84S1 4S81

41S8 481S

4181 48S1

8678
8887

8788
8788
8887
8878

8878

8887
8788
8788
8887

8878

n.

7888
7888

7888
7888
7888

7888

8887
8878
8887

8878
8788
8788

188
188
818
881
818
881

1888 1888

1888 1888

1888 8188

1888 8188

ni.

8818 8188

8881 8188

8816 8818

8881 8881

8818 8818

8881 8881

8188 8818

8188 8881

1, 8, 8, 8, 7, 8, 6-
8, «, 1, 8, 8, 8, 8-

8, 6, 8, 4, 8-
8, 4, 8, 8, 1-

«, 8, 1,8, 8, 8,

4,8,8,6,4,8,8-
8,8,4,8,8,4,6-
4,8,1,4,8,8,1-

1, 8, 1, 8, 6, 8, 6- 6, 8, 7, 8, 6, 8, 6-
6, 8, 6, 8, 6, 8, 6- 6, 8, 6, 4, 8, 8, 1-

irii.

1,8,6,8,7,8,6-
6,6,8,6,4,8,8-
8,8,4,8,8,4,6-
6,8,6,4,8,8,1-

VIII*

4,8,8,8,8,4,6- 1,1,8,8,7,8,6-
-6,8,8,6,4,8,8- 6,8,1,8,6,4,8-
4,8,8,8,8,4,6- 8,6,1,6,8,7,8-
-6,7,8,1,8,8,1- 8,1,6,4,8,8,1- 8,8,8,1,6,6,1

MELODIES IN FIGURES.
1,1,6,6,8,6,6-
4,4,8,8,8,8,1-
:6, 6, 4,4,8,8,8:
1,1,6,6,6,6,6-
4,4,8,1,8,8,1-

4,1,6,6,4,8,8-
4,1,6,6,6,4,6-
8,8,1,6,6,4,8-
4,8,6,8,8,8,1-

1,1,8,8,4,8,1
1,8,6,8,6,4,8
4,8,8,4,8,4,6
6,6,6,4,8,8,1

8,7,6,6,6,7,8
8,1,8,8,4,8,8
4,8,8,1,4,8,8

1,8,6,8,6,8,6
6,8,6,6,4,8,8
4,8,6,6,6,7,8
8,6,:6,1,8,2,1

It is of prime importance that there should be a
feeling of confidence and prompt readiness — "sure
touch " — ^in passing from one degree of the Scale to
another. This can be acquired most readily, as ex^

perienoe has shown, by frequent exercises upon the nu-
merals, alternating with the names of notes, etc., and
hence much of £bis practice is here condensed into
little Sp608. The Scale should be re^tiied as the
unit in thinking sounds, and should ^ taught as a
whole. The practice of the sounds as relative mental
objects, shoula then form a part of each lesson until
these relative sounds are &miliar in every ordinary
relation to each other.

Simple melodies and &miliar tunes may be written
on the blackboard in numerals^ followed by commas
or dashes, as the notes are short or loner. Pupils may
thus be familiarized with the third, fourth, fifth or
other intervals, by associating them with like inter-
vals in tunes with which they are perfectly familiar.
This will be found a hint of much practical value.
No other country gives so much attention to music as
Germany, and this, with German teachers, is a fevorite
method of fixing in the mind certain scale intervals.

Too little attention is directed to developing tone
perception in the minds of pupils. The teacher who
sings should firequently sound the key-note, then sing
ah or la to any tone or tones in the scale, and have
the pupils name the number and syllable, and (when
the key b announced), the letter. The same training
can be given by sounding the key-note, and having
a part of the class sing the tones indicated by the
pomter, while the rest of the class, with their backs
turned, name the tones that have been sung. To
know the name of the note is a very different matter
from being able to sense the tone^ and much less im-
portant. This practical knowledge of tones is essentiaL

The teacher should cultivate a soft, distinct, and
pleasing quality of tone. A good style of singing
can only be acquired by imitation, and that of the
teacher should bie worthy to be imitated. In these ex-
ercises the numerals, or names of the sounds, may be
sung first; then the syllables. Do, Re, Mi, etc.; then
the letters or the pitch of the sounds, and finallv the
syllable ah^ or /a, for each note. Be careful that
every tone is sung with precision. Use D as one^
throughout the alx^e exercises, afterwards the scale of
E(?, £, and C Be sure that the pitch is correct. Test
frequently for correct pitch, with tuning fork, pitch-
pipe, piano, or organ. The '< scale " is sung by the
Syllables ; the names of the successive sound inter-
vals by the Numerals ; the pitch of the sounds (the
key beine known) by the Letters — a distinction
which will be of interest to intelligent pupils. Tliis
should be so well known to the class that there can
be no mistake as to what is meant when the teacher
uses the terms, ** Scale," **Name,'' ** Pitch,'' as words
of command during the singing exercise.

Teachers who are not familiar with the scale can, of
themselves, by the aid of the organ or piano, readily
master the succession of tones found in these exer-
cises. The difficulty is not great, and the pleasure
and profit to teacher and school will ht positive and
lasting — each step forward giving courage for another.

Ol}serve the following directions for singing : i. Let
the body be erect, avoiding stiffness or restraint, z.
Take breath easily and naturally, without raising the
shoulders. 5. Let the mouth be well opened, taking
care to avoid rigidity of the muscles of the throat and
neck. 4. Aim at purity of tone, rather than mere
power, c. Practice frequently, singing the vowel a
(ah), encfeavoring to produce the sound in the front
part of the mouth. It is recommended to preface the
a (ah) with the vowels oo, 0, singing them rapidly
and uniting them with the a, and dwelling upon the
a; thus, 00, 0, a. This prevents tha sound from
being made too far back in the mouth. 6. Articulate

l82

FRANKLIN SQUARE SONG COLLECTION.

distinctly, bat without apparent efTort. 7. In singing
loud passages, be very careful to avoid shouting.

THE KEY-NOTB.

52. The Key-note is One of the Scale, and is
called the Tonic. A minor third above the tonic
characterizes the Minor scale ; a major third, the Major.

53. The Fifth of the Scale is the IHliniliailt.

54. The Fourth, the Sub-Domlnaut*
£^£»« The Key of a piece of music is the funda-
mental tone, or one of the Scale in which it is written,
and it is indicated by the signature. (See Art 41.)
It is always Do^ and is in music *< what the founda-
tion is to a house, home to the traveler, or a port to
the sailor, from which he takes his departure and to
which after his voyage he hopes to return *' — the mel-
ody always ending with the Key-note, The peculiar
characteristic of this note Do, in the Major keys, is
that above it, successively, are always first two whole
tones, then a semi-tone, followed by three whole tones
and a semi-tone ; then Do again, and order of inter-
vals as before. The key of C has no signature. The
signatures of the keys that follow are as here shown:

G, one sharp — Ft.

D, two sharps — Ft, CI.

A, three sharps — Ft, C I, Gt.

E, four sharps— Ft, CI. Gl, Dl.

B, five sharps- Ft, CI. Gl. Dl, Al.
Fl, six sharps— Fl, CI, Gl, Dl, Al, El

F, one flat— Bb.
Bb, two flats— Bb, £b.
£b, three flats— Bb, £b, Ab.
Air, four flats— Bb, £b. Ab. Db.
Db, five flats— Bb. Eb, Ab. Db. Gb.
Gb, six flats— Bb, Eb. Ab, DV. Gb, Cb.

In singing a tune, the first thing to be done is to
find the Key-note as a starting point The order of
' the keys in the sharps may very easily be remembered
from the initial letters in the sentence, « Good Deeds
Are Ever-Blooming Flowers," the last key being
Fl instead of F. The order of the keys in flats is
had by reading the sentence backwards, the first key
being F, and each of the others adding the flat (I?),
as Bb> Eb> Ab* Db* and Gb- In Minor tunes, the
key-note is always a minor third, (three semi-tones),
below the place named for Do in the above Major
keys. That is, the key-note is major C or minor A;
G major or E minor; D major or B minor, etc

" Next letter above last Sharp," is also a simple
rule for getting the Key in sharps. One sharp being on
F, the next letter above is G, the key-note ; two sharps,
last sharp C, next letter above is D, the key-note ; and
so on. In the flat keys, count four notes back^ in-
cluding the note made flat ; as B |^, back four notes to
F, the key-note^ and so on.

INTERVALS.

56. An Interval is the difference of pitch be-
tween any two tones in the scale.

Uniftons are of the same pitch. A Major Second consists
of a step ; a Miner Second of a half-step. A Major Third
consists of two steps , a Minor Third of a step and a half-
step. A Perfect Fourth consists of two steps and a half-step ;
an Aupnented Fourth of three steps. A Perfect Fifth con-
sists of three steps and a half-step ; a Diminished Fifth of two
steps and two half -steps. A Perfect Sixth consists of four
steps and a half-steo ; a Diminished Sixth of three steps and
two half steps. A Major Seventh consists of five steps and a
half-step ; a Minor Seventh of four steps and two half-steps.
A Perfect Octave consists of five steps and two half-steps.
These are called Diatonic Intervals , as they are all found in
the Diatonic Scale. Other intervals, called Chromatic Inter-
vais, may be formed by the use of sharps and flats. When the
lower note of the two representing an interval is placed an oc-
tave higher, or the upper one an octave lower, the interval is

said to be Inverted. The degrees of an intervid are coimted
upwards, unless the opposite is stated ; and the degrees occupied
by the notes, as well as the ones between them, are countea.

CHROMATIC SCALE.

57. The Chromatic Scale is a regular suc-
cession of semi-tones.

58. The tones of the Chromatic Scale are named
from the tones of the Diatonic Scale, or the letters of
the staff"; the intermediate ones taking their names
from one or the other of the tones between which
they occur, with the addition of the word <' sharp "'
or « flat" Thus, the tone inserted between C and D».
when named with respect to Absolute Pitch, is called
C Sharp or D Flat; and with respect to Relative
Pitch is called Sharp One, or Flat Two, This Scale
is here given, both Ascending and Descending :

i^^^ ^ ^"^

^^g>=^

^

Permanent names,

C. Ct D, Df, E, F, Ft, G, Gf, A, Af, B, C,ctc
Syllable Names,

Do, Di, Re, Ri, Mi, Fa, Fi, Sol, Si, La, Le, Si, Do.
Pronounced,

Do, Dec,Ray,Ree,llee,Fah,Fee,SoI,See,La,Lay,See,Do.
Nimiera] names,

X, |x, a, fa, 3, 4, t4. Si |5» 6» 1 6, 7, 8, etc.

A, Ab,G, Gb, F, E, Eb,D,Db.C, B, B^.A. ,
La, Le, Sol, Se, Fa, Mi, Me, Re, Ra. Do, De, Si, La.
6. b^* 5, bSp. 4. 3* b3» a»ba» «» «te-
THB MINOR 8CALB.

59. The Minor Scale is a Diatonic Scale, and
is named from its third, which is a minor third ; the
third of the Major Scale being a major third. The
minor third is a semi-tone lower than a major third.

60. The Minor Scale has various forms. In the
Natural Form the half-steps occur between two>
and three, and five and six. Hence, the Natural
Minor Scale is formed from the Major Scale, by taking
the last two notes above and pladng them below.

NATURAL MINOR SCALE.

m

uOL.

-Sf-

3»

4*
Re.

Mi,

6.
Fa,

7,
Sol,

La, Si,

Bl. The Harmonic Form differs from the
Natural form by the introduction of sharp-seven.

HARMONIC MINOR SCALE.

m

zzsz

X, a, 3, 4, 5, 6, 7, 8.

La, Si, Do, Re, Mi, Fa, Si, La.

62. The Melodic Form in ascending has ^
sharp-six and sharp-seven, while it usually descends: '
by the Natural form.

63* The Minor Scale, based upon six of the Major
Scale, is called its relative minor; and the Major
Scale, based upon three of the Minor Scale, is called
its relative major. The signature of a minor piece
of music is the same as its relative major, the addi-
tional sharps or flats being introduced before the
proper notes in the piece. Thus, a minor piece in
the key of £ has the signature of G major, that is-
FJt; and D|? is used inst^ of D.

FRANKLIN SQUARE SONG COLLECTION.

183

64. Transposttton is changing from one key
to another, that is, moving Do^ or one — the foot of the
Tone Ladder — to a higher or lower place on the Staffs

Oft, The Transposition of the Scale is changing
it from one pitch to another — tiie entire scale being
txmnsposed— 4he intervals between the tones, however,
remaining the same. In order to keep the intervals
of stejps and half-steps in the same order as in the
key of C — ^represented by the white keys of Oigan or
Piano— it is necessary to use flats or sharps— repre-
sented on the key-board by the black keys— at each
transposition, according as one or another degree of
the staff is inade one of the Scale.

66. All scales are, in a general sense, alike natnrsl.
'Whether the key is C, with neither flats or sharps,
or £ with its four sharps, the singer needs to have no
consciousness of the fiurt He simply sings the scale,
-with no change of thought or impression — ^its intervals
being the same in all the keys. It is upon this fiict
that the Tonic Sol-Fa system is based.

ICBTHOD OP TRANSPOSITION.

67* The Scale may be transposed from one pitch
to any other. It is found to be simplest to transpose
\j fifths and fourths; that is, to change the key-note
10 that five or four of the old scale "mil become one
of the new scale.

68* If one of the scale is placed on C, the inter-
Tals between the tones namea bv the letters corres-
pond to those of the scale, as will be seen by the fol-
lowing : Intervals marked by a /<"s are half-steps.

C, D, E, F, G, A, B, C
!• a» 3. 4» 5» 6» 7, 8.

The kev of C therefore requires no sharps or flats,
«nd is called the Natural key.

^IK If, however, any other letter be taken as one
of the scale, it will be seen that the intervals do not
correspond. For example, beginning with G, which
is the//M of the key of C:

G, A, B, C. D, E, F, G.

»» 2, 3. 4. 5» 6, 7, 8.

From this it will be seen that if one is placed on
. G, F, the fourth of the key of C is a half-step too
low, and hence the intermediate tone between F and
G, or F j^, must be taken, thus :

G, A, B, C. D, E. F|, G.

h 2, 3» 4. S» 6> 7» 8.
The signature of the key of G is therefore Fft.

70. Beginning with D, the fififh of the key of G,
.and substituting F|| for F :

D, E, Ft, G, A. B, C, D.

If 2, 3. 4. 5» ^ yr^.

It will be observed that C, the fourth of the key
of G, is a half-step too low, and hence the tone a half-
step higher, or Ctt must be used, thus :

D, E, F|, G, A, B, Cf, D.

i> 2, 3, 4* 5> ^ 7> S.

The signature of key of D is therefore FJt and Cjit.

71* From the above explanations, we may derive
the following liu/e for Transposition by Fifths:

To transpose by Fifths^ make the fifth of the old
scale the key-note of the next scale, and use sharp-
four in place of four of the old scale. This rule is
briefly stated thus : Sharp-four transposes a fifth.

72. Again : placing one on F, which b the fourth
of the key of C:

F,

G,
2,

A, Cb.

6,

Er>.

3> 4. 5*

It will be found that B, the seventh of the key of
C, is a half-step too high, and hence the intermediate
tone between B and A, or B{?, must be taken, thus :

F, G. A, Bb» C, D, E, F.

«» 2. 3. 4» 5» 6. 7» 8.
The signature of the key of F is therefore B^.
73. Beginmng with Bb* the fourth of key of F,

C, D, E. F, G,

3* 4>

A, Bb-

5» 6, 7,
It will be seen that E, the seventh of the key of F,
is a half-step too high, and hence the tone a half-step
lower, or £b must be used, thus :

Bb» C, D, Eb» F, G, A, Bb-

«. a» 3. 4. 5» 6, 7, a

The signature of key of ^ is therefore Bt? and E)?.

74. By an examination of the above explanations
we may derive the following Rule for Transposition
by Fourths : Make the fourth of the old scale the
key-note of the new scale, and use flat-seven in place
of seven of the old scale. This rule is briefly stated
thus : Flat-seven transposes a fourth.

75. In transposing by fifths, those keys are reached
whose signatures are one or more sharps ; in transpos-
ing by fourths, those keys are reached whose signa-
tures are one or more flats.

ICBLODY, PASSING TONES, Etc.

7B. A HEelody is a single succession of tones.

77. Tones iK>t essentially belonging to a melody,
called Passing' Tones, are often introduced.
They are usually represented by small notes.

78. A passing tone that precedes an essential tone
on an accented part of a measure is called an Ap*
poggifttura ; one that follows an essential tone on
an unaccented part of a measure, an After-Tone.

70. A rapid alternation of a tone with the one
next above it is called a Trill or Shake. It is
indicated by fr.

80. A tone sung in rapid succession with the
tones next above and below it is called a Turn. It
is mdicated by ti* . The Trill and the Turn do not
belong to chorus singing.

81. Dots placed across a staff before a bar are
called a Repeat^ and indicate that the preceding
passage is to oe repeated. The influence of a Repeat
extends back to dots placed after a bar; or, if these
are omitted, to the beginning.

82. Da Capo, or I>. C.» indicates a return to
the beginning. Dal Segno, or D. S., indicates
a return to a character called a Sigrn, ^

83. Fine indicates the place to ena after a D. C
or a D. S.

84. The Hold or Paase» ^> signifies that the
sound should be prolonged, and die beating suspended
until the singer is ready to proceed.

x84

FRANKLIN SQUARE SONG COLLECTION

85* If two or more tones of a melody are to be
nmg to one syllable, the notes representing them are
generally connected by a character called a Slur.
The Slur is also used to indicate a Legato movement

86* If a syllable is to be sung to a tone repre-
sented by two or more notes, these notes are usually
connected by a Tie. (See Art iz.)

DYNAMICS : Power of Tones.

87. The power of tones may be indicated by the
following Italian words, marks, or abbreviations :

Metzo, . . . . m, . . . medium.
IHanOf . . , . Pf . . . soft.
Forti, . . . . f , . . . loud.
Pianissimo^ . . pp, . . . very soft.
Fortissimo^ . . ff, . . . very loud.
MezM JHano, . mp, . . moderately soft.
Mezzo Forte, . mt, . . moderately loud.
Crescendo, . . cre8., or -«c:, . gradual increase.
Diminuendo, . dim., or ::=», . gradual decrease.
Swell, . . . -*==: r=^, . increase and decrease.
Sfonuindo, . *< oi" %fz, . . an explosive tone, with
sudden decrease.

88. The following words and characters are also
sometimes used to indicate proper delivery of tc^es :

Legato, ^-'^^, tones smooth and connected.
Staccato, t t t ones very short and disconnected.
Semi-Staccato, or Matcato, • • • tones moder-
ately short and disconnected.

89. Vocal Utterance, or the Emission of tone,
should be instantaneous, decided, and firm; and the
tone should be free, open, round, full, pure, and as
resonant as possible.

90. A necessary quality of good singing is the
proper articulation and pronunciation of the words.
Avoid singing a word without properly speaking it;
or speaking a word without properly singing it Do
not sing with a too exact, madilne-like correctness.
Be careful and accurate, but put expression, soul, and
intelligent personalis into your work.

01. Breath should be taken at such places as will
not mar the sense ; at pauses and after emphatic words.

MARKS OP BXPRBS8ION.

i)2* The following list includes ordinary marks of
expression, with certain other terms used in music:
Accelerando, or acceL, accelerate the time, gradually
£Eister and fiister; ad libitum, or ad lib,, at pleasure;
animato, or con anima, animated, with animated ex-.
pression; affetuoso, tender, aflfecting; agitato, with
agitation, anxiously; amoroso or con amore, affec-
tionately, tenderly; a tempo, in time ; Bon marcato,
in pointed, well-marked manner; bis, twice; bril-
liante, gay, brilliant, sparkling; brio or con brio,
with brilliancy and spirit; Cantata, a composition of
several movements, comprising airs, recitations and
choruses; coda, a close, or additional ending of a
compositioi^ con afeto, with expression; con dolore,
mournfully, with gnef and pathos; con energia, with
energy; con expressione, with expression; confuoco,
with ardor, fire; con grazia, with grace and elegance;
con moto, with agitation, emotion; con spirito, with
spirit, animation; Declamando, declamato, in decla-
matory style; dolce, soft, tender, sweet ; doloroso, ten-
der and pathetic; ^iMT^V^, with enerey; expressivo,
with expression; Forzando, with sudden increase of
power; Grave,, with slow and solemn expressioi^
Lentando, gradually slower; loco, passage to be
played exactly as written in regard to the pitch— it
usually occurs after the sign wa • • • which means

that the note or passage thus marked has been raised
or lowered an octave ; Maestoso, with dignified, ma-
jestic expression; mesto or mestoso, pensive, sad,
mournful; mezzo, in medium degree, as mezzo forte,
radier loud, mezzo piano, rather soft; metzo voce, widi
moderation as to tone; molto, much or very, as molto
voce, with a full voice; Non, not; non troppo, not too
much; Piu, more; piu mosso, with more modon»
fiister; poco, somewhat, rather, as ^oco piano, some-
what soft; poco presto, rather qmck; Rallentando^
(fallen or rail,) gradually slower and softer; red-
tando, a speaking manner of performance; recitative^
musical declamatioi^ rinforzando, suddenly increas-
ing in power; ritardando, {ritard or rit.) a retard-
ing of the movement; Sostenuto, sustained; sotto^
under, below, as sotto voce, with subdued voice;
spirito or con spirito, with spirit, animation; spiri-
toso, with great spirit; Tutti, the whole, full chorus;
Vigoroso, bold, energedc; veloce, with rapidity;
vivace, quick and cheerfiil; mvo, lively, ammated;
voici subito, turn the page quickly.

CHORDS AND HARMONY.

03. A Chord is a pleasing combination of tones
sounded together.

94* Harmony is a succession of chords, ac-
cording to the rules of progression and modulation.

95. The Common Chord is formed by com-
bining any tone with its third and fifth. If the third
of the chord is a Major third, the chord is a Major
chord; if Minor, it is a Minor chord

96. The chord founded upon the Key-note, or
Tonic, is called the chord of the Tonic; the chord
founded upon the Dominant is called the chord of the
Dominant; and the chord founded upon the Sub-
Dominant is called the chord of the Sub-Dominant,

97. The Chord of the Seventh is the com-
mon chord with the minor-seventh added. This
chord is generally founded upon the Dominant If
founded on G, the Dominant of C, it is composed of
the tones G, B, D, F.

98. Either the fifth or the octave of a chord may
be omitted, but the third must always be present, ex-
cept in the dominant seventh chord.

99. "Hie difierent forms of a chord can be made
by placing either the key-note, or third, or fifth, in the
bass, the first being the first position, the second the
secmid position, and the third the third position of the
chord. The positions of the chord of (; are :

IstPosiUoB.

M PMltioa. 8d PosittOB.

$

^

^

lOO. The positions of the chord of the dominant
seventh are as follows:

1st PotlttOB. M Positloa. 8d PosittOB. 4fh PmIIIm.

i M '" I j. I

:*

^?i

The above positions are in the key of C It will
be found to be of advantage for the teacher to explain
them in all the keys, and to require pupils to write
them, giving the Tonic, Dominant, Sub-Dominant,
and Chord of the Seventh, in the different keys. A
correct knowledge of the laws of Harmony is essen*
tial to the arrangement of music for voices or instru-
ments. As it is not possible to treat this subject at
any lengdi in these pages, the student is referred to
more extended worlu for its discussion, and to indi-
vidual or dasi training by a competent instructor.

m m

I

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P r ♦

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